Malvern Festival Theatre – until Saturday 14th May 2022

Reviewed by Julie Bellerby

5*****

This Michael Morpurgo’s book, adapted for the stage by Simon Reade, was a thought provoking story of Private Peaceful. You are taken through Private Tommo Peaceful’s, night before watching his brother, Charlie, face the firing squad at dawn for disobeying his commanding officer in the trenches at Flanders in Northern France.

As a young first World War soldier Tommo battles with the injustices of war and recalls his happy early life throughout the night, unable to sleep he remembers the binding connection he has with Charlie. Private Tommo played by Daniel Rainford held the audience’s attention with a spell binding performance, as a troubled young man who’s brother tried to stand up to the futile decision to go over the wall to fight with an obvious outcome of death.

The stage set was innovative with amazing lighting and sound effects of war, designed by Lucy Sierra, Matt Haskins and Dan Balfour.

Tommo’s flashbacks of his life looked at his childhood, he was part of a loving family and his childhood sweetheart Molly. Molly, played by Liyah Summers performance lit up the stage with her portrayal of the young girl who loves both Tommo and his brother Charlie, finally marrying Charlie.

Tommo thinks he was the cause of the death of his father by a falling tree whilst pushing Tommo to safety, who bore the guilt. Just before his killing, Charlie reassures him it was not his fault, and saying he will be someone for his son to look up too.

The play starts with setting the scene of understanding the care free existence then a hard struggle of living in rural England without a father. Tommo has another brother, ‘big’ Joe, played by Robert Ewens, who, as a young child contracted meningitis and did not attend school, staying with his mother each day. The brothers shared a deep bond and when Charlie signed up for the Army the underage Tommo went with him.

Malvern Theatre is a lovely Theatre where you feel cocooned within its walls, which enhances the feeling of looking through the window at the memories of Tommo’s life.

The cast took on the many roles in the production, which was well executed but slightly off putting as each actor could cover up to 13 roles each!

I came away from the Theatre feeling compassion for the soldiers of World War 1 and maybe a little more understanding, as the portrayal of everyday people were thrown into unknown and horrific atrocities with little training and understanding what the reality would be. Definitely a must see production.

Bristol Hippodrome – until 14th May 2022

Reviewed by Alexandra Browning

4****

Get ready for a toe-tapping, head-rocking rock concert extravaganza.

Andrew Lloyd Webber’s adaption of School of Rock leaves you feeling like you’ve been to the battle of the bands yourself. The show starts with an insight into Dewy Finn’s hobby and living situation; a rock star with a messy home life. You’re then taken on the wild ride that is his venture into teaching. Upon arriving at school, you are quickly introduced to the strict ways of Rosalie Mullins, portrayed by Rebecca Lock. Lock brings her operatic talent into the production in the form of school chants and other musical numbers. The performance from Lock was a standout in the show, with her wide range of skills demonstrated throughout the show, with a character you just have to fall in love with.

The show continues with a classroom of high-paying students with a talent for classical music. Dewy soon locks onto the students’ potential and aids them with his personal collection of instruments. All of the talented students were playing the instruments on stage – in real life -(which was truly magical). However, the student Tomika* was truly breathtaking, the actress had impressive vocal control, and stole the show in her rendition of Tomorrow.

As the show draws to a close, you are transported to the battle of the bands where you get to watch the bands rock out to compete for the winning spot, I left feeling like I’d been to a gig myself with some cheering and some dancing!

School of Rock is a brilliant adaption of the film featuring a cast of many many talents, get those leather jackets out and have a rockin’ time.

*Tomika played by: Souparnica Nair, Jasmine Djazel, Angel Lucero depending on dates

 KING’S THEATRE, EDINBURGH – UNTIL 14^th MAY 2022

 REVIEWED BY RACHEL FARRIER 

4****

The scene is set for this production of Cluedo before the play has even begun – as they take their seats, the audience is eased into the ambience of a country house in the late 1940s by a large wireless set on stage in the ‘hall’, broadcasting the ‘Light Programme’ and news of the era. On one level, the whole of this production is one long cliche of extended slapstick and innuendo, but in the hands of this cast this actually works brilliantly to provide an evening of often-hilarious entertainment. 

We are presented with the familiar characters from the board game Cluedo, who are actually individuals who have some connection to the world of Westminster and have been invited to a ‘party’ (really an extended blackmailing ploy) with the instruction to play the parts of Colonel Mustard, Miss Scarlet and co.. They are ‘hosted’ by Wadworth, who appears to be the attentive butler, although all is not as it seems on that point… 

The caricatured and hammed up performances of each cast member are played just right – managing to avoid becoming irritating, instead they each remain amusing and carry the audience along with the playful and increasingly riotous action.

Holding the show together is Jean-Luke Worrell who plays Wadsworth the Butler with impeccable comedic timing coupled with exceptional physical comedy throughout.

Tom Babbage as Reverend Green was perfectly hapless and naive, and Michelle Collins hams up the classic female fatale of Miss Scarlett superbly. Harry Bradley (‘ensemble man’) deserves a special mention for the manner in which he dealt with the clearly accidental loss of his moustache, which shot from his face whilst he was delivering his lines as a police officer. The audience were already warmed up and laughing aplenty, but this really brought the house down. Etisyai Philip as Mrs White is delightfully imperious, and Laura Kirkham as the not-French maid Yvette is fabulous.

As the number of dead bodies ratchets up and the characters become increasingly paranoid about one another, the action and energy on stage becomes increasingly frantic and slapstick abounds, with the cast chasing one another from room to room. The set is brilliantly designed so that rooms are pulled out of from the side of the ‘hall’ as required, so this element of Cluedo is not lost – the library, lounge, kitchen, study, conservatory and billiard room and dining room all make appearances and the frantic running between rooms towards the end had the audience almost rolling in the aisles. 

This is a light-hearted and very funny production, which does not take itself too seriously and keeps the audience engaged with its energy and humour. A surprisingly fun night out. 

The Grand Theatre, Leeds – until Saturday 14th May 2022

Reviewed by Aimee Liddington

5*****

It’s the roaring 20s and Chicago is hazy with a cocktail of prohibition criminality and the glamour and eroticism of jazz. Cook County Jail has a medley of women on ‘murderess row’ all with a story to tell – crimes which have been committed due to illicit alcohol consumption and sloppy firearm laws. Roxie Hart (Faye Brookes) has just been charged with shooting her lover dead and she’s convinced her doting husband to fund her defence with the one and only Billy Flynn (Russell Watson). Now she needs to play the role of a lifetime to convince the jury and the intrigued newspaper readers that she’s just a vulnerable, blameless woman. The name on everybody’s lips is gonna be… Roxie!

The tremendous talents of the whole ensemble are commendable. Not one member of the production breaks character at any time and the level of professionalism is evident from start to finish. Faye Brookes’ interpretation of the coquettish Roxie Hart is faultless and Djalenga Scott portrays Velma Kelly’s strength and presence flawlessly. All the well-known numbers such as All That Jazz and Cell Block Tango more than surpass expectations which is a huge accomplishment in such a renowned and celebrated production. We Both Reached for the Gun performed by Russell Watson as Billy Flynn, Faye Brookes as Roxie, B E Wong as Mary Sunshine and the company is mesmerising.

The show begins with the orchestra embedded within the set on the stage. This placement of the orchestra at the heart of the stage is symbolic to how music brings everything together in a musical production. The involvement and interaction of the whole orchestra within the acting of the show is refreshing, but in particular the parts played by Musical Director Andrew Hilton add an extra dynamic and allow for the audience to really appreciate the talents behind those playing the live music.

Just like Roxie Hart and Velma Kelly, the audience of Chicago are seduced by the glamour of Jazz music and wanting what they shouldn’t have…. and if you’d have been there, if you’d have seen it, I betcha you would have done the same.

Cast announced for East London
Shakespeare Festival’s Twelfth Night
Touring East London parks from 16th June – 7th August 2022

There’s an 80s party going on all summer long, with the cast announced for East London Shakespeare Festival (ELSF)’s rip-roaring take on Shakespeare’s Twelfth Night. This new production provides summer fun for all the family, with an opportunity like no other for complete escapism in picturesque outdoor settings.

Bringing the residents of Illyria to life this summer are Aaron Douglas (Money, Southwark Playhouse; Interruptions, Jacksons Lane) as Sebastian, Ursula Early (Please Right Back, 1927; The Endings, Soho Theatre; Wives As They Were, UK Tour) as Olivia and Arysha Kelly makes her professional debut as Viola. Paul Carroll (A Skull in Connemara, Nottingham Playhouse; That Dark Place, Old Red Lion Theatre) takes on the dual roles of Feste and Antonio, alongside Philip Honeywell (Karaoke Play, Bunker Theatre; A Clockwork Orange, Park Theatre) as Malvolio, Alasdair Saksena (King Lear With Sheep, UK & US Tour) as Sir Toby Belch and Kate Thomson Rahmanian (Helena & Hermia: Untucked, The Other Palace; X&Y, Frantic Assembly) as Maria

Also taking on dual roles are Hassan Maarfi (Our Man in Havana, Minerva Theatre; The Mullah of Downing Street, Warwick Arts Centre) as Duke Orsino and Sir Andrew Aguecheek and ELSF’s 2022 ‘Apprentice Actor’ Francesca (Frankie) Alemitu Bertoletti, who is making their performing debut as Curio and Valentine.

Rosie Ward, producer and co-director of ELSF and Community Ensemble Director comments, We are so excited about our fantastic cast. Not only are they awesome actors, they represent the diversity of East London. They are really going to bring the story of Twelfth Night to life.

Ursula Early, producer and co-director of ELSF, says, We couldn’t be more thrilled with the cast, they are all brilliantly talented multi-skilled actors including: actor-musos, cabaret performers, and comedians. We can’t wait to have them giving their 1980s take to the audiences of East London!

Transforming areas across Hackney, Waltham Forest and Redbridge into the world of Illyria, ELSF merges the contemporary culture of East London with the inspirational storytelling of Shakespeare’s plays in outdoor parks and community spaces across the area. Twelfth Night gives local residents a memorable and unique experience of Shakespeare’s much-loved classic tale, with a festival vibe and featuring a community ensemble of local residents at the Waltham Forest venues.

With Pay-What-You-Can performances and heavily reduced school matinees for local schools including a 20-minute pre-show workshop, the company are partnering with local performing arts college Big Creative to provide placements, and Crate St James to offer two Kickstart apprenticeships, offering invaluable behind-the-scenes insight, support with creative career options and new skills for students.

Hull New Theatre – until 12th May 2022

Reviewed by Catherine McWilliams

4****

Michael Flatley’s Lord Of The Dance is celebrating its 25th year, with a young cast many of whom will have been toddlers or not even born when it was first staged in Dublin. Lord Of The Dance is Michael Flatley’s “brainchild”, his celebration of Irish dance and culture with music composed by Gerard Fahy. It is a tale of good versus evil, dreamed by Little Spirit (Cassidy Ludwig), in which the Lord of the Dance (Matt Smith) must fight against the Dark Lord (Zoltan Papp), and of course the Lord of the Dance triumphs.

Matt Smith was the classic hero as the Lord of the Dance. He is an extremely skilful dancer and was a delight to watch, at times his feet moved so fast across the floor that they blurred! The entire cast is full of the most tremendous dancers, an incredibly talented group and it was the ensemble pieces that were the stand out dances in the performance. The sound of the shoes on the stage is mesmeric and this was particularly the case when the men danced alone with no music, a simply stunning performance.

Two fiddle players Gida Costenaro and Aisling Sage added to the joy of the piece with their fast and furious playing of traditional Irish music. It was wonderful to see the dancers on stage dancing to this live music. Celyn Cartwright was Erin the Goddess giving voice to the sentiments expressed in the dance. She has a beautiful singing voice with wonderful tones.

Michael Flatley was also present in the theatre in the form of backdrop videos of performances and him talking about Irish dance and his career. However, I found the backdrop videos playing in the final number to be a distraction from the wonderful dancing that was taking place on stage.

In its 25th year I do feel that Lord Of The Dance may be showing its age, times have moved on. I was very disappointed that the female dancers, who are clearly immensely talented are not given a proper showcase, they appeared to be on stage to look pretty and very much played second fiddle to the men. I also question why it was necessary for them to strip off their dresses on stage and then dance in skimpy halter necks and short shorts, this added nothing to the storyline or merit of the performance. I should also add that the backing music used was at times excessively loud and my ears are still ringing today.

What Lord Of The Dance does best is traditional Irish music and dance and this was a total delight to watch, the audience gave the performers a standing ovation at the end of the show. If you love Irish music and dance then there is no doubt you will love Lord Of The Dance.

NEW DIORAMA ANNOUNCE ‘THE KNOT’ – A FESTIVAL OF FEARLESS CONVERSATIONS ABOUT THE FUTURE OF INDEPENDENT THEATRE

·       A year after reopening, The Knot is a watershed moment for independent artists to confront new challenges facing the sector post-lockdowns.

·       From 18-24 June, a programme of brave panels, bold workshops and exclusive speaker events – plus theatre’s spiciest pub quiz.

·       All events free with booking now live at www.the-knot.co.uk, accessible digitally and in person at New Diorama’s revolutionary NDT Broadgate venue.

New Diorama announces ‘The Knot’: a week of fearless conversations about the future of independent theatre, 18-24 June at NDT Broadgate and online.

A year since theatres reopened, independent artists face daunting questions, some seemingly unanswerable. The Knot dares us all to come together: to leave the WhatsApp group, get out of the DMs, save the subtweets to draft – and have the big conversations we need, face-to-face.

Headline panels include Social Media Activism: the future of institutional accountability? with Royal Court’s Vicky Featherstone, artist-campaigner Adam Lenson and Barbican’s Tom Sleigh, chaired by playwright Vinay Patel. Elsewhere, ThisEgg’s Josie Dale Jones joins to discuss censorship and reactionary responses to The Family Sex Show. And London’s hottest playwright Ryan Calais Cameron (For Black Boys)featuresin a panel about Black-led work targeting success amidst a white critical and audience gaze.

The workshop programme tackles the stuff they don’t teach on the average artist development course, from How To Fire People (And Other Interpersonal Skills) to Creative Mental Health and Financial Planning for Freelancers.

A speaker programme provokes artists’ curiosity with insights from the wider world – that have nothing to do with art, but everything to do with the world in which art is made. Speakers range from UN climate change negotiation expert Brianna Craft to venture capitalist Fabio La Franca on future-shaping metaverse technologies.

Co-presented with Culture Mile and partner theatre companies Uproot and Bunny, all events are available free with online and streaming options. The programme is hosted at NDT Broadgate, NDT’s vast rehearsal complex in City of London which has already blazed a trail for post-Covid artist support, offering over 100,000 artist-hours of space completely free for independent theatre-makers.

NDT Executive Director Will Young said: ‘It’s been the most amazing year for New Diorama, supporting literally thousands of theatre-makers at NDT Broadgate. We’ve done our best to listen and figure out what’s next: the big unspoken questions, fears and obstacles for artists making brilliant, bold theatre. The Knot represents where we’ve got to so far – and the conversations we think it begins with. Dive in with us.”

FULL PROGRAMME NOW AVAILABLE ONLINE AT: WWW.THE-KNOT.CO.UK

Lyceum, Sheffield – until 14th May 2022

Reviewed by Alison Beaumont

5*****

The Cher Show tells the early story and rise to stardom of Cher. The show is directed by Arlene Phillips OBE renowned for judging Strictly Come Dancing.

This show is absolutely amazing from the start to the end I am almost lost for words.

The show features 3 Cher’s Babe, Lady and Star who all have phenomenal performances and showed their expertise delivering their portrayal of Cher with professionalism. The 3 Cher’s spend most of the show on the stage together. There are lots of lighting effects which made you feel like you were actually there and not just watching a show.

Babe (Millie O’Connell) is the very young Cher who is bullied for looking different and at the young age of 16 meets Sonny (Lucas Rush). Her mannerisms were typical of a young Cher. If I had to be nit picky about anything I would say I thought Babe was the weaker of the 3 Cher’s but this really is something so minor as she portrayed young Cher excellently.

Lady (Danielle Steers) plays the divorced Cher who works hard to pick herself up and take control of her career, she meets marries and has a baby with Greg (Sam Ferriday). Danielle has such great vocals and coming from Barnsley like myself and having attended the school my daughter goes to made me feel extremely proud of her seeing her on the stage giving without a doubt a faultless performance. Her vocals were absolutely outstanding.

Star (Debbie Kurup) showed Cher’s acting career. Debbie bore such a resemblance to Cher you could have been watching the legend herself, her vocals and characteristics were great.

All 3 Chers blended well when singing together and you could see the passion and enjoyment throughout their performance.

The ensemble were fantastic and certainly added to the enjoyment of the show, brilliant choegraphy by Oti Mabuse, great energy by everyone and very talented individuals.

Everything even down to the costumes were amazing.

Everyone was on their feet at the end and judging by the audiences faces and reaction to the cast everyone enjoyed this as much as I did. I could definitely watch this again and again.

Eleanor Lloyd Productions and Rebecca Stafford Productions present

Witness for the Prosecution

By Agatha Christie

• AGATHA CHRISTIE’S ‘WITNESS FOR THE PROSECUTION’ IS NOW BOOKING UNTIL 16 APRIL 2023
• THE ACCLAIMED PRODUCTION, NOW ON TO ITS SEVENTH CAST, EXTENDS ITS RUN AT THE MAGNIFICENT LONDON COUNTY HALL

Eleanor Lloyd Productions and Rebecca Stafford Productions are delighted to announce an extension for Agatha Christie’sWitness for the Prosecution. Audiences can now watch the trial of Leonard Vole at the magnificent London County Hall until 16th April 2023. Tickets are now on sale at witnesscountyhall.com. Casting for the new booking period is to be announced.

Producers Eleanor Lloyd and Rebecca Stafford said: “After being closed for 18 months during the pandemic we are thrilled that audiences have welcomed Witness for the Prosecution back with such enthusiasm. Over 400,000 people have seen the show since we opened in 2017 and we are excited to now be extending into a 6th year with a new booking period now on sale until April 2023.” 

The current cast includes Joshua Glenister as the accused, Leonard Vole, opposite Lauren O’Neil as Romaine. Owen Oakeshott will play Sir Wilfrid Robarts QC. He is joined by Peter Landi as Mr Mayhew, Richard Teverson as Mr Myers QC, and James Hayes as Mr Justice Wainwright. The company is completed by James Alper, Lily Blunsom-Washbrook, Jonathan Brenner, Simon Butteriss, Vicki Davids, William Donaldson, Nick Hardie, Andrew Hollingworth, Mandi Symonds, Naomi Taylor, Matt Weyland, and Donnavan Yates.

Now in its fifth year, Witness for the Prosecution has captured the imagination of thousands gripped by the case of Leonard Vole, accused of murder in cold blood. Director Lucy Bailey thrillingly places the audience in the thick of the action as Christie’s enthralling tale of justice, passion and betrayal unfolds around them.

Leonard Vole is accused of murdering a widow to inherit her wealth. The stakes are high. Will he be able to convince the jury of his innocence and escape the hangman’s noose?

The twists and turns of the case are played out in a spectacular courtroom setting inside the atmospheric London County Hall as prosecution battles defence and witnesses take the stand to give their shocking testimonies. The production received Best Revival nominations at the 2018 Olivier and WhatsOnStage Awards.

The production is designed by William Dudley, with lighting by Chris Davey, sound design by Mic Pool and casting by Ellie Collyer-Bristow CDG.

History’s Greatest Ballet Star to be celebrated in
Nureyev Legend and Legacy

• The legacy of the legendary dancer and global celebrity Rudolph Nureyev will be celebrated over five performances taking place from 5-12 September at Theatre Royal Drury Lane
  
• The opening evening performance will be introduced live by Dame Monica Mason and Ralph Fiennes
  
• The gala performance has been curated by former Royal Ballet Principal Nehemiah Kish and is supported by the Rudolf Nureyev Foundation
  
•  An international cast of 22 dancers will come together in celebrating Nureyev’s life and work accompanied by live music from the Royal Ballet Sinfonia conducted by David Briskin (National Ballet of Canada)
  
• 350 tickets for the production will be made available free of charge to ballet students, NHS workers and economically deprived ballet lovers 

The unmatched impact of Rudolf Nureyev, whose performances touched the lives of people around the world, will be celebrated on stage this September in London over five performances at the Theatre Royal Drury Lane – where Nureyev made his London debut – in a production curated by a former star of The Royal Ballet which will bring together an array of international talent both on and off stage.

Nureyev defected from the Soviet Union in 1961, rebelling against an oppressive regime, becoming a citizen of the world who popularised ballet internationally.

At Nureyev Legend and Legacy, audiences will enjoy a programme of nine classical ballet excerpts representing highlights in Nureyev’s career, hand-selected by former Royal Ballet principal Nehemiah Kish and performed by 22 of the leading dancers of our times – William Bracewell, Yuhui Choe, Alina Cojocaru, Cesar Corrales, Guillaume Côté (12^th September), Benjamin Ella, Francesco Gabriele Frola, Emma Hawes, Francesca Hayward, Daichi Ikarashi, Oleg Ivenko, Natascha Mair, Hugo Marchand (5^th and 6^th September), Maia Makhateli, Vadim Muntagirov, Yasmine Naghdi, Natalia Osipova, Xander Parish, Iana Salenko, Marcelino Sambé, Alexandr Trusch, Marianna Tsembenhoi –  representing companies which include The Royal Ballet, Paris Opera Ballet, Dutch National Ballet, National Ballet of Canada, and the English National Ballet.

Performances of Nureyev Legend and Legacy will be hosted and introduced by former Director of The Royal Ballet Dame Monica Mason – who herself partnered Nureyev on a number of occasions – and Ralph Fiennes, the acclaimed actor and filmmaker who directed and acted in The White Crow, which tells the story of Nureyev’s defection from Russia to the West. On the opening night, this introduction will be live, with a filmed version screened at the performances that follow.

Each piece has been chosen to represent a different aspect of Nureyev’s incredible life and work, which saw him become a global star with renown beyond the world of ballet, opening with a solo he choreographed for The Sleeping Beauty which showcases Nureyev’s talent as a choreographer and his impact on elevating the role of the male dancer by adding solos to the classical repertoire. 

It will be danced by Hugo Marchand of the Paris Opera Ballet. Other extracts in the programme include a Pas de Deux from Gayane, which reflects Nureyev’s folk dance roots and will danced by Oleg Ivenko (who played Nureyev in The White Crow) partnered byMaia Mahkateli; and the Pas de Six from Laurencia, which Nureyev staged with the Royal Ballet for a TV special in 1964, staged exclusively for this production by Natalia Osipova, who will be accompanied by Marcelino Sambé and 4 dancers from The Royal Ballet.

The dancers will perform to live music played by 40 musicians from the Royal Ballet Sinfonia, who will be conducted by David Briskin, Musical Director of the National Ballet of Canada. Costumes which draw on archival footage of Nureyev’s performances have been created by ballet dancer turned designer Natalia Stewart.

In alignment with Nureyev’s inclusive values, which saw him establish a foundation which offers bursaries to emerging dancers, a proportion of tickets for the production will be offered free of charge to ballet students and workers in the NHS. Some of the dancers in the programme have been the direct beneficiaries of bursaries to study from The Rudolph Nureyev Foundation.

Speaking about the production, Artistic Director Nehemiah Kish said:  

“From my earliest memories as a young dancer, I have regarded Rudolf Nureyev as synonymous with classical ballet. At Canada’s National Ballet School, I was fortunate to study with a close colleague of Nureyev and our training was infused with daily reminders of the impossibly high standard of discipline and artistry that Nureyev practiced. Every step of my dance education and professional career has been shaped by those who knew Nureyev and drew inspiration from his passion and commitment to illustrate the highest achievements in dance and inspire the next generation of dancers. In presenting this programme, I want to celebrate Rudolf Nureyev’s transformative influence on dance and his legacy, expressed through the performances of today’s most incredible dancers.”    

Listings information

Nureyev Legend and Legacy | Theatre Royal Drury Lane
5 September                 7.30pm
6 & 12 September         2pm and 7.30pm
Tickets from £25: https://lwtheatres.co.uk/theatres/theatre-royal-drury-lane/
 Running time: 120 minutes including interval