Category: Uncategorized

The Orange Tree Theatre, Richmond – until 12th November 2022

Reviewed by Bobbi Fenton

5*****

‘The Solid Life of Sugar Water’ is a phenomenal work of art, portraying the raw and intense emotion that comes with losing a baby. Phil (Adam Fenton) and Alice (Katie Erich) tell the story of their whole relationship, through a nonlinear narrative, in unbelievable detail. They describe when they first met, each of their dates, their first kiss, the first time they had sex, and their wedding. Although there is one thing they can’t seem to talk about much. Through being very open and honest with the audience about their relationship and sex life, they create a façade of being completely open and not hiding anything in order to shield their own inability to talk about the baby that they lost. It feels almost like a distraction, by talking about all of their happy memories in a comical way, they manage to trick the audience into thinking that there is nothing wrong. This builds tension up until the very end of the play, and a scene in which Alice and Phil finally manage to talk about that night, without feeling the need to cut each other off with another funny story. In this scene we see a parallel between the two characters, as we see Phil re-enacting and describing the first time they had sex, while we see Alice giving birth to her baby, screaming at the doctors to ‘cut the baby out’.

I have to mention the extremely talented movement director, Isolte Avila. A large amount of the scenes use non-naturalistic movement to represent multiple different things, such as both actors having a tug of war with a bedsheet signifying them having sex, or when Alice is giving birth at the end.

I don’t think there is a single pair of actors I could ever imagine portraying these two characters as perfectly as Adam Fenton and Katie Erich. Every line of the play is projected onto the wall for everybody to read, and yet the lines that are spoken differ slightly from the projected lines. Whether intentional or not, I found this made it much easier to suspend my disbelief as it made it feel a lot more like two real people telling stories about their relationship from memory rather than telling a story they’ve rehearsed over and over. If it weren’t for the lines being projected on the wall, I could believe that this entire show was a work of purely talented improvisation.

This absolutely heartfelt show is a masterpiece, full of brilliantly timed comedy and incredibly well delivered sorrow, portraying the harsh reality of the aftermath of losing a baby.

Tobacco Factory, Bristol – until 22 October 2022

Reviewed by Lucy Hitchcock

5*****

Deb Pugh and George Mann have constructed an absolute masterpiece depicting the Greek Myths known and loved by many. This one woman show is incredibly moving and intense with elements of humour and darkness.

Deb Pugh is our one and only cast member, portraying the gorgon Medusa, explaining how she came to be the most feared of her sisters and the life she was forced to live. This perfectly crafted piece is only one act, but there is so much packed in – you will not be disappointed! Pugh is a force of nature, with exquisite talent and the ability to story tell and engage an audience with ease. We hear the stories of Medusa, Ajax, the battle of Troy, Achilles and many more Greek Gods told in the most exciting way. Together with lighting designer and sound engineers Ali Hunter and Sam Halmarack, Pugh doesn’t lose focus for a second. The lights and sounds marry perfectly to Pugh’s movements and help to show the light and dark of the stories-both figuratively and literally. I was totally enamoured with Pugh’s performance from the very beginning-the piece starting with a single snarl that set the tone for the show. This beautifully simple stage was taken up by Pugh’s enormous presence, as she navigates it perfectly in order to tell the tales. I came out of the performance having learnt about gods I had never heard of-beautifully highlighting the importance and impact of live theatre. Pugh broke the fourth wall, further creating a bond with the audience and with her natural comedic timing, she was able to have us in silence and then laugh in a split second.

This really is a testament to George Mann’s direction and Deb Pugh’s talent!

Empire theatre, Sunderland – until Saturday 29 October 2022

Reviewed by Alexandra Sykes

5*****

Nothing makes a cold, wet October night better than a trip to the theatre, so seeing The Book of Mormon for the first time was an amazing night. 

Funny from the word go, The Book of Mormon tells the story of how the Mormons were founded and how present day Mormons – Elder Price and Elder Cunningham (Robert Colvin and Conner Peirson) – were sent to Uganda to convert the locals, however Elder Price actually wanted to be sent to Orlando in Florida and Elder Cunningham is definitely the most unconventional Mormon going. 

Joining the Elders on their religious journey are Elder McKinley (Jordan Lee Davies), the senior Mormon for District 9 in North Uganda who encourages the new additions to turn off any confusing feelings they may have, implying that he himself is gay. The local villagers, led by Mafala Hatimbi (Ewen Cummins) mostly ignore the Mormons as they are constantly under threat from local warlord General Butt F***ing Naked. Things start to look up for the Elders when local girl Nabulungi (Aviva Tulley) starts listening to Elder Cunningham, despite him mixing up the holy text and plot lines from various films he has seen.  All’s well that ends well with the locals converting to Mormons and visiting other locals to try and convert them. 

With catchy songs and a well used set, this musical is a brilliant night out that will leave you in stitches from laughing so much. A personal highlight was watching the Mormon Elders tap dance to Turn It Off, especially whilst wearing pink, sparkly waistcoats. 

An absolutely brilliant night out full of laughs and singing along which will keep you smiling for days afterwards.

The Cabaret Geek presents  

The Wizard of Poz: Defying Bigotry 

at Two Brewers in Clapham this December  

The Adult Pantomime with a filthy mouth and a big heart  

starring Paulus ‘The Cabaret Geek’  

The Two Brewers Annual Adult Panto will this year be The Wizard of Poz: Defying Bigotry, presented by The Cabaret Geek, with a festive run at the popular Clapham cabaret venue from 7-9, 14-16 and 21-22 December 2022.  

From the same creative team who brought Pilates in the Caribbean, Alice in Poundland, Hairy Poppins and Dial M for Death to The Battersea Barge, this filthy-mouthed show with a big heart will unpack the myths surrounding HIV in the 21st century with levity and love. 

It’s the 1980’s in Ashby De La Zouch. Kevin is transported by tornado in place of his friend, Dorothy (who got COVID and had to cancel). There he meets the wrath of The Wicked Witch of West Acton (Ealing-Adjacent), whose only wish is to own her sister’s comfy High-Top trainers – oh, and to destroy any living being having an active sex life. Can Kevin save the sex lives of his friends from doom? Can he protect the red High-Top trainers from the witch? Is there anywhere you can park your broom in West Acton – and is that really the price of butter in the 80’s? Aided by Grrrlinda the Good, The Tin Scarecrow (cost of living crisis, we’ve all had to make sacrifices), and a Lion who is obsessed with Greggs the baker, Kevin embarks upon a quest to visit The Wizard of Poz and to discover finally whether that brick road is more ‘Sunflower’ or ‘Babouche’.  

The Wizard of Poz promises musical numbers from The Wiz, Wicked and the beloved Judy Garland movie, performed by a fabulous line-up of top cabaret and theatre performers.  

The cast is led by Paulus, ‘The Cabaret Geek’ – BBC’s All Together Now judge (as The Wicked Witch of West Acton) with Poz Daddy’s Jamie Anderson (as Grrrlinda The Good), C J Hopkins (as Kevin, A Friend of Dorothy), Paula Brett (as The Tin Scarecrow), Emma Maywood (as Lion), Annemarie Lewis Thomas (as Auntie Em) and Nathan Evans (as The Wizard of Poz).  

The creative team is Annemarie Lewis Thomas (Musical Director), Jamie Anderson (Director), Paulus, ‘The Cabaret Geek’ (Writer/Producer), Paula Brett (Dance Captain) and Belle De Beauvoir (Costumier/Choreographer). The production team is Sean Mooney (Company Manager) and Nathan Evans (Technician).  

Disclaimer: this show has no trigger warning, no spoilers and should not be viewed by anyone with a delicate disposition. It is basically filth. Also, there might be strobe lighting. 

The Wizard of Poz plays Two Brewers (114 Clapham High Street) from 7-9, 14-16 and 21-22 December 2022. Tickets: https://thecabaretgeek.com/panto/. Strictly for ages 18+. 

LISTINGS 

Show: The Wizard of Poz: Defying Bigotry 

Producer: The Cabaret Geek 

Venue: Two Brewers, 114 Clapham High Street, London SW4 7UJ 

Date: 7-9, 14-16 and 21-22 December 2022 (press night: 8 December) 

Time: doors 7.15pm; show 8.00pm. 

Running Time: tbc 

Box Office: https://thecabaretgeek.com/panto/ 

Tickets: £22 

Accessibility: Accessible Toilets, Complimentary Ticket for Assistant, Service Animals Welcome, Step Free Access, Wheelchair Accessible 

Eleanor Lloyd Productions and Eilene Davidson Productions present

Vardy v Rooney: The Wagatha Christie Trial

• A VERBATIM PLAY OF THE VARDY V ROONEY TRIAL WILL BE STAGED IN THE WEST END FOR ONE NIGHT ONLY.
• LISA SPIRLING’S RESTAGING IS ADAPTED BY LIV HENNESSY FROM THE HIGH COURT TRANSCRIPT.
• DATE AND VENUE TO BE ANNOUNCED SOON. SIGN UP HERE TO BE THE FIRST TO KNOW WHEN TICKETS GO ON SALE.

For one night only, theatre audiences will be able to watch the trial that gripped the nation.  Adapted from seven days of the High Court transcript by Liv Hennessy (finalist in the Paines Plough’s Women’s Prize for Playwriting) and directed by Lisa Spirling (Artistic Director of Theatre503), Vardy v Rooney: The Wagatha Christie Trial will bring the dramatic legal action to life. 

From sting operations to sensational headlines, this verbatim production will reveal what went on behind closed doors in the case that turned social media sleuthing into high drama. Audiences will see first-hand, and in the words of Rebekah Vardy and Coleen Rooney, how the extraordinary week in court played out.

Vardy v Rooney is a story stranger than fiction, with lurid one-liners and revelations blurring the boundaries of tabloid and court case, social media and soap opera. This unique moment in British media history captivated the country but while public debate raged, only a handful of people witnessed what happened in the trial. Now audiences can watch the intrigue and intricacies of the case live on stage in the West End.  Further details to be announced soon. 

Producer Eleanor Lloyd said: ‘The way the trial gripped the nation – myself included – demonstrated to me straight away how well this story would translate to the stage; the twists and turns of the case were so intriguing you couldn’t write it.’

Director Lisa Spirling said: ‘This trial asks key questions about the complex boundaries between privacy and celebrity in modern Britain and what it is to be a so-called ‘WAG’.  I’m thrilled to be collaborating with Eleanor, Eilene and Liv to bring this extraordinary court room script to life.’

THEATRE ROYAL NOTTINGHAM – UNTIL SATURDAY 22 OCTOBER 2022

Reviewed by Amy Coulson

5*****

I’ve never seen the film. I know! I feel guilty even writing that. Maybe that means I shouldn’t be writing this…however, if it helps, after being invited to watch The Chichester Festival Theatre Production of Rodgers & Hammerstein’s South Pacific, I’ve discovered a new favourite!

Set on an island during WW2, this love story has it all, including depictions of racism and international relations. I wasn’t expecting that, but then I didn’t know Oscar Hammerstein was an anti-racism campaigner.

A charming leading lady or ‘hic’, Nurse Nellie Forbush (Gina Beck) falls for a handsome leading man Emile de Becque (Julian Ovenden). She embarrassingly sings “I’m in Love with a Wonderful Guy” and then when she finds out he has mixed-race children, does a runner! She comes to her senses of course, and leaves her racist views behind her, phew!

Julian Ovenden as Emile de Becque had the crowd swooning for his French accent, bravery, and glorious vocals.

The love story, or rather one night together that leads to a lot of “I love you” moments, reminds me of growing up watching films and thinking that’s how it happens. You meet someone and you fall in love with one another in that instant and that’s that. It all feels a bit silly now I’m in my late thirties, but that’s not to say I didn’t enjoy the ridiculousness of it!

The sets are as beautiful as you’d imagine the island to be. Pink blossoms cascade over balconies, gorgeous soft lighting (Howard Harrison) captures the mood perfectly, and you’re transported there.

Luther Billis (Douggie McMeekin) provides a lot of the laughs as the crafty Seabee who is desperate to visit a neighbouring island to help fuel his entrepreneurial ways. He’s often accompanied on stage by an ensemble of military chums and fun ensues.

My favourite moment was led by Douggie McMeekin as Luther Billis. An awesome testosterone fuelled chorus of American military dreaming of an island full of girls is both old fashioned and yet wildly amusing. “There is Nothin’ Like a Dame” was a disarmingly fun number.

Equally, “I’m gonna wash that man right out of my hair” is great fun, led by Nurse Nellie Forbush (Gina Beck) the swimsuits looked to be original and their pops of colour across the stage complimented the light-hearted take on what I assume was a feminist stance. All the costumes (design by Peter McKintosh) were fabulous.

Worth mentioning the choreography and movement direction from Ann Yee. The cast made great use of the revolving stage and tall sets. The stage felt full of action and adventure, a real showstopper!

THE MOUSETRAP

THE WORLD’S LONGEST RUNNING PLAY

TO CELEBRATE ITS 70TH ANNIVERSARY

IN THE WEST END ON FRIDAY 25 NOVEMBER 2022

Special Celebratory Performance announced,

uniting those who have worked on the iconic show

during its record-breaking run

Show announces partnership with National Literacy Trust,

to inspire the new generation of whodunnit writers

New cast announced ahead of anniversary performance

https://uk.the-mousetrap.co.uk

On Friday 25^th November 2022, Agatha Christie’s iconic thriller, The Mousetrap, the longest running play in the world, will celebrate its 70^th anniversary in the West End.

The Mousetrap’s history continues to be written into London life – from husband-and-wife Richard Attenborough and Sheila Sim starring in the inaugural production in 1952, and Queen Elizabeth II attending the 50^th anniversary performance, through to the performance on 17 May 2021 marking the official reopening of the West End after the Covid lockdown.

The Mousetrap is the genre-defining murder mystery from Agatha Christie, the world’s best-selling novelist of all time, whose canon of work is the 3^rd most widely read in the English language behind only Shakespeare and the Bible. The show has been performed over 28,500 times in London and has been seen by over 10 million people.

In celebration of the 70^th Anniversary, the producer of The Mousetrap, Adam Spiegel, has announced a special midday matinee performance on Friday 25^th November. In thanks and recognition to the vast number of people who have worked and continue to work on the production, guests with a historic connection to the show will be invited to attend this special one-off performance.

In further celebration of this astonishing milestone anniversary, The Mousetrap have partnered with the National Literacy Trust. Over an initial two-year partnership, The Mousetrap will support the Trust, an independent charity working to give children the literacy skills to succeed in life, to deliver the Young Mystery Writers programme, inspiring a new generation of writers.

Working with over 30 secondary schools in London and cities across the UK, Young Mystery Writers not only supports young students from disadvantaged backgrounds to write their own whodunnit short story, but also gives them the full experience of a West End show. Participants will then have an opportunity to be published as part of a celebratory anthology.

Tim Judge, Head of Schools Programmes at the National Literacy Trust, said:

“This partnership will use Agatha Christie’s incredible legacy to encourage a love of writing – a key literacy skill – in 600 students from disadvantaged backgrounds. Christie is the best-selling novelist of all time and Young Mystery Writers, on the 70^th anniversary of The Mousetrap, will continue to serve as an inspiration to the next generation of mystery writers.”

Adam Spiegel, the producer of The Mousetrap, said:

“As the custodian of The Mousetrap in its 70th year I am delighted to be supporting the fantastic work of the National Literacy Trust. Agatha Christie has inspired countless readers from every walk of life and I can think of no better partnership to honour the legacy of her work”

New cast is also announced for the production at St. Martins Theatre. From Monday 21 November, the cast will be Sara Lessore (The Tempest and A Midsummer Night’s Dream at Shakespeare Globe) as Mollie Ralston, George Banks (Coronation Street on ITV) as Giles Ralston, Jonathan Tynan-Moss (Doctor Who Time Fracture for Immersive Everywhere) as Christopher Wren, Sarah Whitlock (returning from previous productions of The Mousetrap) as Mrs. Boyle, Philip Childs (Long Day’s Journey Into Night in London, New York and Los Angeles) as Major Metcalf, Phoebe Sparrow (Downton Abbey on ITV) as Miss Casewell, Rob Pomfret (recently in The Responder on BBC) as Mr. Paravicini and George Jones making his West End debut as Detective Sgt. Trotter.

The 70^th Anniversary touring production of The Mousetrap opened at Nottingham Theatre Royal in September 2022 and will perform at over 70 venues throughout the U.K. and Ireland, ensuring this extraordinary milestone year will be marked across the country.

The Mousetrap is produced by Adam Spiegel and directed by Ian Talbot OBE.

Northern Stage Newcastle – until 22nd October 2022

Reviewed by Sandra Little

4****

This play revolves around the theme of forbidden love. However, issues relating to mental health, segregation, privilege and family discord are also included. The themes explored in this play also have strongly intertwined personal and political elements.

The play introduces the audience to a segregated society divided by race, where the Crosses are the more privileged group and the Noughts are perceived to be of a “lower order”. The two main characters in the play are Sephy (Effie Ansah ) and Callum ( James Arden ). These two characters are teenagers who are in love but must meet secretly to avoid any retribution, being as Sephy is a Cross and Callum a Nought.

As the play unfolds tensions between the two groups begin to emerge when Callum is offered a place at a school normally reserved for Crosses. Not only is there hostility from Crosses to this decision, there is also friction and disagreement between Callum and his brother, who are both Noughts. At this point in the play, an emerging political element to the story begins to emerge.

The second half of the play includes some very dramatic scenes alongside some quite tender moments. From a personal perspective, I was aware of absolute silence in the auditorium and it seemed as though the audience were holding their breath as they watched events unfold. At certain points this tension was almost palpable and there were scenes I found difficult to watch because of the intensity of the drama and emotion attached to the story.

The set and props used for this production are quite minimal, however they are used to great effect. They form an unobtrusive backdrop to a very strong storyline and very powerful acting. Creative use of lighting and sound enhances this emotionally charged production and creates the appropriate atmosphere for each scene. More sophisticated props and scenery would be unnecessary and could possibly be a distraction from the intense drama that unfolds in this play.

The storyline of this play highlights the discrimination and inequalities that existed between Noughts and Crosses. The jury for example in the play consisted of 12 Cross men and women but no Noughts! We also learned that Noughts were not allowed to have a passport or a mobile phone. Malorie Blackman has said that her greatest wish is for this story to be less, not more, relevant.

However, such complex issues as equality, fairness, freedom and basic human rights, which are all explored within this play, will no doubt resonate with people today in many societies who feel powerless to change their circumstances.

Hull New Theatre – until 22nd October 2022

Reviewed by Catherine McWilliams

3***

In the early 1970s it felt like The Osmonds were everywhere, a family of incredibly talented young musicians from Utah. They were phenomenally successful whether as a group or as soloists, selling over one hundred million records. The Osmonds is a new musical, with the story by Jay Osmond and tells the family’s story and what a story it is.

The Osmonds is narrated throughout by Jay Osmond (Alex Lodge) who tells us that he was the drummer, the one always at the back, the one who saw everything that was happening. It takes us back to the very beginning when Alan, Merrill, Wayne and Jay were young children singing barber shop style to raise some money for better hearing aids for their older brothers. They then appeared on The Andy Williams Show and quickly became regulars, with Donny eventually appearing with them too. They then got picked up by a record label and their rise to meteoric stardom started. Of course, the story is interspersed with the music that The Osmonds sang, but it has some interesting choices of music, with some of the songs being not so well known.

The music is superb throughout with the Band led by Will Joy (somewhere off stage) providing excellent backing for The Osmonds. The harmonies in all the songs were excellent and I feel that this was a particular strength of the show. Special mention should go to the young cast who played the young Osmonds, such superb singing at such a young age, they stole the show each time they appeared on stage. Georgia Lennon as Marie Osmond has an excellent country voice and I particularly enjoyed Ryan Anderson’s (Merrill) rendition of The Proud One.

Ryan Anderson (Merrill), Jamie Chatterton (Alan), Alex Lodge (Jay), Danny Nattrass (Wayne) and Joseph Peacock (Donny) gelled together wonderfully as The Osmonds and Bill Deamer’s chorography gave their musical performances a totally authentic 1970’s feel. Lucy Osborne’s set and costumes added to that 1970’s feel.

At times this is a difficult watch, these are after all young children and George Osmond (Charlie Allen) their father ran the family like a military unit. Some of the interactions he has with his children are heart-breaking as they struggle to learn something or even don’t want to perform anymore. Charlie Allen plays George Osmond superbly, never shifting from his stance that family is everything and everything has to be for the family, constantly maintaining an icy stance.

This is a long performance and I do wonder if perhaps some of Jay’s speeches could be cut back a little. Having said that this is a story well worth the telling and I strongly suspect it only touched the tip of the ice berg, surely someone will pick it up for a tv mini-series.

The audience were on their feet at the end of the performance to give this talented cast a standing ovation and to sing along to some of the hits. They were buzzing as they went out.

Full of fabulous music and vibrant performances this is a show that will stay with you, it has a story that should be told. Ultimately The Osmonds was far more thought provoking than I expected.

Runaway Entertainment presents

2:22 – A GHOST STORY

The hit play by Danny Robins

Directed by Matthew Dunster

• SMASH HIT 2.22 – A GHOST STORY WILL TRANSFER TO THE LYRIC THEATRE FOR A STRICTLY LIMITED FIFTH SEASON OF 13 WEEKS FROM 21 JANUARY 2023
   
• FOLLOWING ITS PREMIERE AT THE NOEL COWARD THEATRE IN SUMMER 2021, THE PRODUCTION MOVED TO THE GIELGUD THEATRE BEFORE TRANSFERRING FOR TWO SEASONS AT THE CRITERION 
   
• THE PRODUCTION IS DIRECTED BY MATTHEW DUNSTER AND WRITTEN BY AWARD-WINNING WRITER DANNY ROBINS
   
• CAST FOR THE LYRIC THEATRE WILL BE ANNOUNCED SOON
   
• TICKETS FOR THE LYRIC THEATRE ARE ON SALE FROM 10AM ON 21 OCTOBER FROM WWW.222AGHOSTSTORY.COM

Producer Runaway Entertainment is delighted to announce that the critically acclaimed, smash hit, supernatural thriller 2:22 – A Ghost Story will transfer theatres for a fourth time  – and its fifth season – to The Lyric Theatre where it will play a 13 week season opening on 21 January 2023. Going from strength to strength, the Lyric will be the biggest house the production has played in to date.

The production began its life last summer 2021 at the Noel Coward Theatre starring Lily Allen, Julia Chan, Hadley Fraser and Jake Wood. It then transferred to the Gielgud Theatre for 10 weeks from 4 December 2021. The production there starring Stephanie Beatriz, James Buckley, Elliot Cowan and Giovanna Fletcher completed its run on 12 February 2022. For the first season at the Criterion (May – September 2022) the cast was Tom Felton, Mandip GIll, Sam Swainsbury and Beatriz Romilly. In Late September Laura Whitmore, Matt Willis, Felix Scott and Tamsin Carroll took over and will continue until the Criterion run ends on 8 January. Cast for the transfer to the Lyric Theatre will be announced soon. 

“A great spine-tingling night out!” Evening Standard

The West End theatre event of 2021 and 2022 will return in 2023 by popular demand.

“It’s happening again…”

2:22 is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist, and is directed by Matthew Dunster. Look out for the clues to unlock the mystery in this brilliantly funny and intriguing play; it’s an adrenaline-filled night where secrets emerge and ghosts may or may not appear…

Danny Robins said: ‘I can’t tell you how much joy I get from seeing the audience’s response to our show. It seemed a crazy risk when we first brought this brand new play straight into the West End at the height of the pandemic over a year ago, I keep pinching myself about the fact that we are still playing to packed houses. Each theatre, and each cast brings something new and thrilling to the experience, and I’m really excited to be moving to the Lyric, our biggest house yet. Look out for the cast announcement coming soon as the 2:22 journey continues.’

What do you believe? And do you dare discover the truth?

“THERE’S SOMETHING IN OUR HOUSE. I HEAR IT EVERY NIGHT, AT THE SAME TIME”

Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they’re going to stay up… until 2:22… and then they’ll know.

“A slick, chilling, romp of a play” The Guardian

2:22 – A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound and illusions by Chris Fisher.

2:22 – A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon.