Category: Uncategorized

York Theatre Royal – until Saturday 12th March 2022

Reviewed by Michelle Richardson

5*****

The Le Navet Bete Theatre Company, based in Exeter, have returned once again to York Theatre Royal, with their take on Robert Louis Stevenson’s legendary tale. I have seen them on the two previous occasions and was looking forward to their brand of physical comedy.

The company of four, Al Dunn, Matt Freeman, Dan Bianchi and Nick Bunt, brings to life, with a fresh twist, the story of Jim Hawkins, Long John Silver, Ben Gunn and Captain Flint’s buried treasure. It might not be the story you may be used to, but boy is it entertaining. Bunt plays Jim, whilst the others play a variety of characters, even Captain Birdseye and a mermaid!

From a misty start, with treasure being buried on stage, we are treated to 2 hours and 20 minutes, including interval, of pure unadulterated slapstick and fun. After the curse of the black dot and the discovery of a treasure map, we follow Jim from his family inn, across the seas to the Caribbean. Recruiting crew members, including the aforementioned Captain and Long John Silver, with his wooden leg and his faithful parrot Alexa. This is no normal parrot, you’d expect nothing less than this modern take, it’s all courtesy of the Amazon and would mishear requests and order unwanted items.

With a segment of Play Your Cards Right we had a great time with higher and lower, and then all loved joining in later with a heave and a ho. There were quite a few school children in the audience, at first, I was a bit wary, but they only added to the whole experience with their laughter and chuckles, especially at the “risqué” parts, with references to the Jolly Todger and Little Todger. We all couldn’t help but join in with all the fun and laughter.

Bunt plays a convincing 14-year-old, all wide-eyed and innocent. Dunn’s main character is Long John and he steers the story along, appearing to be the good guy, but is full of skulduggery and is hiding, well at least to Jim anyway, his piracy. Bianchi does a fab impression of the Captain, with his love of fishfingers, but is he in disguise? Freeman is outstanding as Vanessa, complete with wardrobe malfunction, the mermaid, flapping about on stage, Alexa, and the Jean Paul Gaultier inspired, Blue Peter, now what an outfit! He has such a presence on stage with his knowing smile and such an expressive face, he’s not afraid to go that extra mile. All the company are amazing in their different roles and are the perfect foil for each other.

There are gags aplenty and the action does not let up, full of contemporary comedic twists. You are left wandering if all the physical comedy is scripted, with all the trips and gaffes, but I very much doubt it and it only added to a great evening’s entertainment. I have always enjoyed their shows, but this is my favourite, for now at least.

Are they boys with their childish humour, or men who are masters of their craft? I believe the latter, but maybe a bit of both, you decide. This is some serious, good old laugh-out-loud fun and should not be missed.

The Leeds Playhouse – until 11th March

Reviewed by Dawn Smallwood

4****

Jaha Koo’s The History of Korean Theatre is part of the Transform 21 22 Festival which proudly engineers powerful performances. Transform is reputedly renowned for boldly, bravely, and vividly creating and recreating performances aiming to make everyone politically and socially conscious. They aren’t afraid of not following traditional and stereotypical conventions and encourages one to question the existing ones.

The History of Korean Western Theatre, part of Koo’s Hamartia trilogy, addresses exactly these issues. Based on the centenary of Korean Theatre’s in 2008, Koo questions how theatre is perceived in the country, how it has been heavily relied on Imperial and Western cultures and traditions, and how much these have influenced the theatrical canons. Koo questions how people rely on Western Culture such as Shakespeare rather than its Korean ancestors and its rich culture.

The performance is multimedia with eye catching and thought-provoking moving visuals in the background and Koo, a South Korean filmmaker, explores and documents deeply his personal journey. He questions how the country’s theatrical traditions amid a turbulent social and political landscape have influenced over the past 100 years. There are some good usages of props that intertwine and communicate with Koo with the everyday life, past and present while addressing the issue.

The temptation to dwell and rely heavily on embedded perceptions and censorships in the past is shifted to contemporary and openness. This looks into the future how the new generation can move Korean theatre forward into the 21st Century.

This 60-minute performance is well put together and encourages one to think widely the definition and perception of theatre where definitive answers aren’t the options.

THE UK AND IRELAND TOUR OF
THE SMASH HIT ROMANTIC MUSICAL COMEDY

ANNOUNCES

DAVID HUNTER AS ‘DR POMATTER’
AND
WENDY MAE BROWN AS ‘BECKY’

JOINING

CHELSEA HALFPENNY AS ‘JENNA’

AND 
EVELYN HOSKINS AS ‘DAWN’

Producers Barry & Fran Weissler and David Ian are delighted to announce that David Hunter and Wendy Mae Brown will join the cast of the UK and Ireland Tour of the smash hit romantic musical comedy WAITRESS as ‘Dr Pomatter’ and ‘Becky’. waitressthemusical.co.uk

Wendy Mae Brown joins the production from 30 March 2022, David Hunter will appear in Llandudno from 30 March to 2 April 2022 and then from 30 May 2022.

They join Chelsea Halfpenny as ‘Jenna’, Evelyn Hoskins as ‘Dawn’, George Crawford as ‘Ogie’, Michael Starke as ‘Joe’ Tamlyn Henderson as ‘Earl’ and Christopher D. Hunt as ‘Cal’. The company also includes Monique Ashe-Palmer, Amelia Atherton, Donal Brennan, Aimée Fisher, Scarlet Gabriel, Nathanael Landskroner, Charlie Martin, Liam McHugh, Olivia Mitchell, Ben Morris and Brian Roland.

David Hunter reprises his role as ‘Dr Pomatter’ having originated the role in the West End production of Waitress at the Adelphi Theatre. His other West End credits include Kinky Boots, Once, One Man, Two Guvnors, Songs For A New World, Tommy and Seussical. David gained national notoriety during his time on ITV’s Superstar, competing to play the role of ‘Jesus’ in Jesus Christ Superstar. His other film and television credits include Nativity 3, Holby City and Doctors. David is also the front man of pop-rock band, Reemer.

Wendy Mae Brown’s West End theatre credits include The Book of Dust, The Lorax and Kiss Me, Kate. Her other theatre credits include To Kill A Mockingbird, Ghost The Musical, Rent and South Pacific. Her television credits include Almost Never, River, Man Down, Porters, 40 North and Casualty. Wendy’s film credits include Four Weddings and a Funeral, Your Christmas or Mine?, Last Chance Harvey and Blackbeard The Pirate.

Chelsea Halfpenny began her career in the popular children’s television series Byker Grove. She appeared as ‘Amy Wyatt’ in Emmerdale for three years and ‘Alice Munroe’ in Casualty, a part she played for four years. Chelsea recently made her West End debut as ‘Judy Bernly’ in 9 to 5 The Musical at the Savoy Theatre.

Evelyn Hoskins most recently played the role of ‘Dawn’ in Waitress in the West End at the Adelphi Theatre. Her other theatre credits include the title role in Carrie at Southwark Playhouse, Spring Awakening at the Lyric Hammersmith and in the West End, Assassins at the Nottingham Playhouse and Watermill Theatre, Mrs Henderson Presents at the Royal Alexandra Theatre in Toronto, Peter and the Starcatcher at Northampton’s Royal & Derngate, This Is My Family at Sheffield Crucible and on UK Tour, The Boy Who Fell Into A Book at the Stephen Joseph Theatre and The Secret Garden at Birmingham Rep.

WAITRESS is based on the 2007 movie written by Adrienne Shelly. Music and lyrics are written by GRAMMY award-winning, singer-songwriter sensation Sara Bareilles, who appeared on the Graham Norton TV show, performing the hit song from the show She Used To Be Mine. With a book by Jessie Nelson, direction by Tony-award winner Diane Paulus and choreography by Lorin Latarro, Waitress has garnered multiple awards and nominations in both America and the UK, receiving acclaim from both audiences and critics alike.

WAITRESS opened on Broadway on 24th April 2016 at the Brooks Atkinson Theatre, where it ran until 5th January 2020. Waitress celebrated its official opening night at the Adelphi Theatre in London’s West End on 7 March 2019. The North American tour of Waitress is currently on hold due to COVID-19. Waitress is currently on tour in Japan (Japanese language production), and is set to open in Australia and Holland.

WAITRESS tells the story of Jenna, an expert pie maker in a small town, who dreams of a way out of her loveless marriage. A baking contest in a nearby county and the town’s new doctor may offer her a chance at a new life, while her fellow waitresses offer their own recipes to happiness. But Jenna must find the courage and strength within herself to rebuild her life. This beautiful musical celebrates friendship, motherhood, and the magic of a well-made pie.

Book by Jessie Nelson

Music and Lyrics by Grammy Award-winner Sara Bareilles

Based upon the motion picture written by Adrienne Shelly

Directed by Tony Award-winner Diane Paulus

WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick. The tour is produced by Barry & Fran Weissler and David Ian Productions.

JASON MANFORD TO MAKE HIS PANTO DEBUT

AT MANCHESTER OPERA HOUSE
THE PANTOMIME ADVENTURES OF PETER PAN

SAILS INTO MANCHESTER THIS CHRISTMASS

at 10 Dec – Sat 31 Dec 2022

Manchester Opera House has announced that comedy superstar Jason Manford will lead the cast in The Pantomime Adventures of Peter Pan in the role of Captain Hook, joined by returning Manchester panto favourite Ben Nickless as Smee.

Stand-up comedian, actor, singer, radio and television presenter Jason Manford began his career in 1999, while working at the Buzz Comedy Club in Chorlton, Manchester, and since then has regularly packed-out theatres and arenas up and down the country with his award-winning comedy.

Jason is no stranger to our television screens having presented numerous television shows for the BBC and ITV, and was also a Team Captain on the popular Channel 4 panel show 8 Out of 10 Cats. Jason has also starred in numerous stage musicals in the West End and across the UK, including Sweeney Todd, The Producers, Chitty Chitty Bang Bang, Guys and Dolls, and Curtains.

Jason Manford said “I’ve been going to panto since I was a kid and now experience the magic with my own children. So to make my debut and be part of this year’s Manchester pantomime feels like a huge honour. I’m nervous of course, and slightly worried about how a 40-year-old out of shape father of six is going to play Peter Pan, what with all the flying and sword fighting but I’ll give it my best shot…what’s that? Ohhhh! I’m playing Hook. Right, well that certainly makes more sense! Can’t wait.”

Chief Executive of the world’s biggest panto producer, Crossroads Pantomimes, Michael Harrison said “Jason is without question one of the most in-demand comics of the moment and I’m absolutely thrilled to have his phenomenal talents leading our Manchester Opera House panto this Christmas.”

Joining Manford will be Ben Nickless in the role of the bumbling shipmate Smee. Rochdale-born Nickless started his working life playing the comedy clubs in the North West and his career took off in 2006 when he performed his own style of comedy and impressions on the BBC television series Let Me Entertain You alongside Brian Conley and Christine Bleakley, winning his episode. Ben returns to the Manchester Opera House panto by popular demand, having played Wishee Washee in Aladdin, Muddles in Snow White and Buttons in Cinderella.

The Pantomime Adventures of Peter Pan is produced by Crossroads Pantomimes and will feature spectacular special effects, live music, beautiful costumes and stunning sets.

Further casting will be announced later in the year.

The Pantomime Adventures of Peter Pan weighs anchor at the Opera House from 10th – 31st December with tickets from £13. For more information, or to book, visit www.atgtickets.com/Manchester. 

Park Theatre, Finsbury Park – until 2nd April 2022

Reviewed by Bobbi Fenton

5*****

‘Ghosts of the Titanic’ is honestly indescribably good. It follows Emma (Genevieve Gaunt) in her hunt for the truth about the sinking of the Titanic, because her fiancé had died in the sinking, playing in the ship’s band. She believes that the Titanic was doomed to sink from the moment it left the Belfast port, listing different factors such as the fire in the hull, and that she believes that the photo of the iceberg with red paint on it is fake. She meets dodgy ‘newspaper reporter’ Molloy (John Hopkins) who convinces her to help him to write a story for a newspaper. Along the way on her quest for justice, she meets McBride (Fergal McElherron) who had worked on the Titanic while it was in construction, and therefore knows about the shortcuts taken by the higher-ups. His brother, who worked on the ship up to its departure, is also among the many who died in the sinking. Emma begins to uncover the truth with the help of McBride and newspaper publisher Swanson (Lizzy McInnerny) who gives her a folder of evidence of the corruption by the rich men who own everything in the country. By the end of the play, the audience is left wondering what the truth is, as it is a very ambiguous ending. Either Emma is a scam artist looking for a large pay out, she is insane and is believing a delusion about the Titanic and her fiancé, or she is being kept in a mental hospital by the corrupt higher ups who don’t want the truth to expose them. I personally cannot make up my mind, because the amazing acting by Genevieve Gaunt makes it very difficult to decide which ending makes the most sense.

The costumes are beautifully designed by Neil Gordon, and look very authentic to the fashion of 1915, further allowing the audience to immerse themselves in the story. This is further aided by the size of the theatre. The theatre being quite small means that the audience feel more involved and immersed in the show.

When we think about the Titanic, everybody thinks about the passengers of Titanic, but it is rare that we think about the effects on other people, and this show forces us to do this, in a brilliant way. This show is a phenomenal representation of how the Titanic sinking affected the people who weren’t on the ship, but had loved ones who were.

THE WHATSONSTAGE BEST NEW MUSICAL

AND THE MOST NOMINATED NEW MUSICAL IN THIS YEAR’S OLIVIER AWARDS

BACK TO THE FUTURE THE MUSICAL

EXTENDS PERFORMANCES AT THE

ADELPHI THEATRE

IN LONDON’S WEST END

NOW BOOKING UNTIL 23 OCTOBER 2022

OFFICIAL CAST RECORDING RELEASED TODAY

Due to overwhelming demand, lead producer Colin Ingram together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce that BACK TO THE FUTURE The Musical’s performances at the Adelphi Theatre in London’s West End will extend to 23 October 2022. Tickets on sale now. The critically acclaimed Olivier Award-nominated and WhatsOnStage Award-winning Best New Musical had its opening night in London on Monday 13 September 2021.  

The much anticipated Original Cast Recording released on Sony Music’s Masterworks Broadway label is out today, exactly two years since the world premiere opening night performance of the musical at Manchester Opera House, featuring the new music by multi-Grammy Award-winners Alan Silvestri and Glen Ballard alongside classic songs from the movie including The Power of Love and Johnny B. Goode. 

Last month, BACK TO THE FUTURE The Musical won four WhatsOnStage Awards, including the coveted award for Best New Musical. Other awards included Best Supporting Performer in a Male Identifying Role in a Musical for Hugh Coles, Best Lighting for Tim Lutkin and Best Sound for Gareth Owen. This week, the musical received seven Olivier Award nominations, making it the most nominated new musical this year, including Best New Musical, Best Actor in a Musical for Olly Dobson, Best Actor in a Supporting Role in a Musical for Hugh Coles and Best Original Score or New Orchestrations for Alan Silvestri and Glen Ballard; Orchestrations: Ethan Popp and Bryan Crook.

Producer Colin Ingram said, “I’m so delighted to announce the release of our fantastic cast album today, which has been produced by multi-Grammy Award-winners Alan Silvestri and Glen Ballard together with Nick Finlow in partnership with Sony Music’s Masterworks Broadway label.  As we break box office records at the Adelphi Theatre and celebrate 7 Olivier nominations along with winning Best New Musical at the WhatsOnStage Awards, I look forward to announcing other productions throughout the world soon.”

BACK TO THE FUTURE The Musical stars Roger Bart and Olly Dobson as ‘Dr Emmett Brown’ and ‘Marty McFly’ respectively, with Hugh Coles as ‘George McFly’, Rosanna Hyland as ‘Lorraine Baines’, Cedric Neal as ‘Goldie Wilson’, Aidan Cutler as ‘Biff Tannen’, Courtney-Mae Briggs as ‘Jennifer Parker’, Will Haswell as ‘Dave McFly’, Emma Lloyd as ‘Linda McFly’ and Mark Oxtoby as ‘Strickland’.  Also in the cast are Rhianne Alleyne, Amy Barker, Matthew Barrow, Joshua Clemetson, Jamal Kane Crawford, Morgan Gregory, Sam Harvey, Ryan Heenan, Cameron McAllister, Alessia McDermott, Laura Mullowney, Nic Myers, Shane O’Riordan, Katharine Pearson, Justin Thomas, Oliver Roll, Melissa Rose, Charlotte Scott and Tavio Wright.

Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.

Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Dr Emmett Brown.  But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.

BACK TO THE FUTURE The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Tim Lutkin (lighting), Hugh Vanstone (lighting consultant), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod Associates.

Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).

BACK TO THE FUTURE The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Hunter Arnold, Gavin Kalin Productions, Playing Field, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Robert L. Hutt, Universal Theatrical Group, Ricardo Marques, Augury, Robert Zemeckis, Bob Gale, in association with Kimberly Magarro, Stage Entertainment, Glass Half Full Productions/ Neil Gooding Productions.

Website: BackToTheFutureMusical.com   

Twitter: @BTTFmusical

Instagram: @BTTFmusical      

LISTINGS INFORMATION

BACK TO THE FUTURE The MusicalAdelphi Theatre
Strand
Covent Garden
London WC2R 0NS
Current booking period to 23 October 2022
Group Bookings available to 11 February 2023

Performances:

Mondays, Wednesdays – Saturdays at 7.30pm, Thursday & Saturday matinees at 2.30pm, Sundays at 3pm (Please note, there will be additional matinees at 2.30pm on Wednesday 19 July and Friday 21 October and no weekday matinee w/c 10 October)

Tickets: from £19.55

Please book via the website: BackToTheFutureMusical.com – no booking fees  

The Rocky Horror Show returns to York on Monday 14 March 2022 and on the Tuesday of that week Kristian Lavercombe celebrates his 2000^th performance as Riff Raff in the show.   The Rocky Horror Show first began life in 1973 before an audience of just 63 people in the Royal Court’s Theatre Upstairs. It was an immediate success and transferred to the Chelsea Classic Cinema, before going on to run at the Kings Road Theatre, 1973-79 and the Comedy Theatre in the West End, 1979-80. In 1975 it was transformed into a film called ‘The Rocky Horror Picture Show’. This film adaptation took over $135 million at the Box Office and is still shown in cinemas around the world more than 40 years after its premiere, making it the longest running theatrical release in cinema history. Many stars including Russell Crowe, Tim Curry, Susan Sarandon, Jerry Springer, Jason Donovan and Meatloaf have appeared in The Rocky Horror Show over the past 45 years.

Directed by Christopher Luscombe, the smash hit show features all of the famous musical numbers which have made The Rocky Horror Show such a huge hit for over four decades, including “Sweet Transvestite”, “Science Fiction/Double Feature”, “Dammit Janet” and, of course, the timeless floor-filler, “The Time-Warp” – this is perfect show to help people forget the doom and gloom of recent months.

The Rocky Horror Show tells the story of Brad and his fiancée Janet, two squeaky clean college kids who meet Dr Frank’n’Furter by chance when their car breaks down outside his house whilst on their way to visit their favourite college professor. It’s an adventure they’ll never forget, with fun, frolics, frocks and frivolity, bursting with timeless songs and outrageous outfits.  The Rocky Horror Show is a guaranteed party, which famously combines science-fiction, horror, comedy and music while encouraging audience participation – meaning, of course, getting dressed-up in the most outrageous fancy dress.

This musical extravaganza continues to play to packed houses as it tours the length and breadth of the UK with a stellar cast that is showing no signs of slowing down! Theatre is in full throttle and this extraordinary cast is ready to deliver a guaranteed party not to be missed.

Digital Theatre+ partners with Sonia Friedman Productions to Provide Education Platform for Walden

From Thursday 10^th March 2022, schools, universities, and educational institutions all over the world will be able to see the digital streaming of Walden – the fresh and ambitious debut play by Amy Berryman. Walden stars Gemma Arterton, Fehinti Balogun and Lydia Wilson and is directed by Ian Rickson. 

Running at 100 minutes, the production was filmed for the screen in May 2021 during its run at the Harold Pinter Theatre. The new streaming for education institutions is thanks to a partnership with producers Sonia Friedman Productions in association with Stage2View and Digital Theatre+, Digital Theatre’s education platform.

Set in the Colorado of the near future, Walden explores the intensity of familial love and loss against the backdrop of a climate emergency encroaching ever closer. After returning from a year-long Moon mission, Cassie, a NASA botanist, finds herself in a remote cabin in the woods, where her estranged twin sister, Stella, a former NASA architect, has found a new life with climate activist Bryan. Old wounds resurface as the sisters attempt to pick up the pieces of the rivalry that broke them apart. 

Now this critically acclaimed play will be made available to students, and this will be followed by the release of a suite of educational resources for the play, produced by Digital Theatre+ designed to support teachers and educators in inspiring and engaging students studying. 

The collaboration between Digital Theatre + and Sonia Friedman Productions follows earlier successful collaborations on Funny Girl (with Sky) Ghosts (with the Almeida) and most recently Uncle Vanya (with Angelica Films and the BBC) and is among a number of Digital Theatre+ partnerships with theatres and producers worldwide to capture and share original content with the education sector. Educational support packages are tailored to fit each production and can include including biographies, documentaries, essays, lectures, workshops, study guides, and interviews alongside other learning aids. 

Sonia Friedman said: ““We’re thrilled to renew our collaboration with Digital Theatre+, following the enormous success of Uncle Vanya, by introducing Walden to students and educators worldwide. Walden is very much part of this moment – a new play by a new writer, Amy Berryman, bringing a fresh voice and perspective to address timely and timeless themes including the climate crisis and sustainability, sisterhood, personal responsibility and, ultimately, hope.”

Joshua Andrews of Stage2View comments: “Stage2View are honoured to have financed and produced the film capture of Sonia Friedman’s exquisite production of Walden. As theatre producers ourselves, we share Sonia’s desire to maximise accessibility and audience reach of such high-quality productions and stage performances, and in doing so celebrate the return of live theatre. It’s been a pleasure to collaborate with Sonia, the brilliant Ian Rickson and the whole Walden team.”

Neelay Patel, CEO of Digital Theatre+ said “We are incredibly pleased that Digital Theatre+ will now allow educational institutions to see to this compelling new work. Not only is it a very strong piece of writing and performance that throws a spotlight on the intricacies of personal relationships, but vitally important, it also provides a powerful analysis of the environmental crises we are all facing – something Digital Theatre+ is passionate about helping to communicate via education.

Digital Theatre+ is a global educational platform focused on the teaching of English and Performing Arts. The company works with all levels of education from age 11 up to Higher Education. Digital Theatre+ partners with the theatre industry, sharing captured and original content globally with educators and students from companies such as Frantic Assembly, Royal Shakespeare Company, Gecko, Complicite and the Lincoln Centre. DT+ works with theatre professionals to support their commitment to education, and to help instil a passion for theatre in young people that will help create the theatre goers of tomorrow.

York Theatre Royal – 10th March 2022

Reviewed by Aimee Liddington

4****

Old meets new in Haworth, Bradford as the Brontë sisters are placed in a 21st century hair salon. Charlotte is strong-minded, clever and ambitious. Emily is fiercely independent and has a deep love for nature. Anne is cheerful and gentle and a feminist through and through. Each of them is different yet they all share a wonderful talent for writing.

Written by Kirsty Smith and Kat Rose-Martin, this modern take on three of England’s best known female writers is well worth a watch. Keeley Lane, Joëlle Brabban and Stephanie Rutherford who play Charlotte, Emily and Anne respectively embody the image of a true Yorkshire lass and encapsulate the personality of each of the Brontë sisters. From the first few seconds of the production, it was clear which actress was playing which sister and their characterisation only got better as the show went on.

In a time where older literary works may be pushed aside for something more contemporary, it is important for us to protect national jewels like Wuthering Heights, Jane Eyre and The Tenant of Wildfell Hall. What better way to do that then to liken the authors to women who exist in today’s day and age? In fact, this production makes you question whether women today are really altogether that different to women from the 19th century. Add a few up-to-date cultural references and a bit of modern music from sound designer Christella Litras and many young women are able to resonate with the hopes, dreams and frustrations of the Brontë sisters.

Costumes and set by Kevin Jenkins are realistic and are elegantly simple, paving the way for the talents of the actresses and director, Chantell Walker, to be highlighted. Walker’s direction is dynamic as she plays with levels and uses the forefront and background of the stage to highlight each character in turn. Additionally, her use of physical theatre alongside musical interludes breaks up the dialogue to provide some variety throughout.

Whether you are more of a Charlotte, Emily or Anne, Jane Hair provides something for everyone. If you haven’t read their stories yet, you’ll leave the theatre feeling excited to get started. For something classic with a modern twist, get yourself down to the Brontë’s hair salon.

CONSUMED BY KARIS KELLY ANNOUNCED AS THIS YEAR’S WINNER OF THE WOMEN’S PRIZE FOR PLAYWRITING

Consumed by Karis Kelly is today announced as the winning script for The Women’s Prize for Playwriting 2021. The Prize, now in its second year, is produced by Ellie Keel and Paines Plough, with Principal Partner 45North and in association with Sonia Friedman Productions.

The competition opened on 7 April 2021 and received over 850 entries which were judged by Arifa Akbar, Mel Kenyon (Chair), Lucy Kirkwood, Jasmine Lee-Jones, Winsome Pinnock, Indhu Rubasingham, Jenny Sealey, Nina Steiger, Nicola Walker, and Jodie Whittaker. From 8 finalists, Karis Kelly was awarded the prize of £12,000 at a ceremony held today at The London Library, with whom The Women’s Prize for Playwriting is entering a new partnership.

The winning playwright, Karis Kelly, is currently on attachment with the Lyric Theatre, Belfast, and Consumed is set to be programmed in 2023.

On winning the award, Kelly said today “I’m absolutely blown away to be the Winner of the 2021 Women’s Prize for Playwriting. In today’s theatre ecology, we really do need programmes that highlight female and female identifying voices. I’m so proud to be a part of its legacy. Like many others in the arts, during the pandemic, I had a complete crisis of faith, and was considering a complete career change! So, to go from that point, to receiving recognition from such an amazing prize and panel of judges is genuinely a dream come true.”

Also announced today Artistic Director of Kiln Theatre, Indhu Rubasingham, will take on the role of Chair of Judges for the third annual Women’s Prize for Playwriting, with submissions opening in the summer.

Ellie Keel, Founder Director of The Women’s Prize for Playwriting, today said, “To say that I’m delighted with this outcome would be an understatement – I’m so thrilled that this warm, funny, deft, sharply observed play has won the Prize in our second year. We’ve got a long way still to go in terms of parity between male and female writers on major stages and I hope that the exceptional plays brought together under the banner of this Prize demonstrates that there’s no shortage of talent: only, in some places, a reluctance to recognise it or give it a chance. It is time for the theatre industry to make sure it’s putting as much faith in female writers as they have to put in themselves to get plays written. It’s an exciting time – we can’t wait to produce Consumed in 2023, along with all the other producing activity that’s planned for the prize this year and next.”

Katie Posner and Charlotte Bennett, joint Artistic Directors of PainesPlough,added, “We distinctly remember calling each other after we first read Consumed to share that we had both been howling with laughter, moved and shocked all within the first 10 pages – we love the unpredictability of this script, the metaphor that sits at the heart of the story and the way it centralises women’s stories across four generations. Karis is a bold and thrilling theatrical voice who we are privileged to now be working with at Paines Plough.”

Jessica Rose McVay, Emily Carewe and Charlie Lees-Massey from 45North said, “The incredible scope of the finalist plays this year once again show the depth and breadth of the work women are writing. Each of these plays are rich in their storytelling; personal and touching in their characters; and bold in their theatricality. Consumed speaks to generational trauma and love, and at its heart is theatrically thrilling – we cannot wait to see it on stage!”

CONSUMED

By Karis Kelly

Four generations of Northern Irish Women: a house full of hungry ghosts, with more than one skeleton in the closet.

Bangor, Northern Ireland. It’s Eileen’s 90^th birthday, and her neurotic daughter Gilly is fussing, trying to organise her impending party. Gilly hasn’t finished unpacking the shopping when her high-flying daughter Jenny arrives from London with her worryingly thin daughter Muireann in tow. That makes four generations of Gillespie women in one room, and you could cut the tension with a knife. As the women prepare for a party that no one seems to want, the atmosphere turns decidedly sinister as deep-rooted recriminations and accusations fly out of the women like weapons. Obsessions and compulsions have spread through the lineage like poison. This is a house full of hungry ghosts and there’s definitely a few skeletons in the closet…

Karis Kelly is a playwright, theatre maker and educator. She has previously been the Literary Assistant at the Bush Theatre and Literary Associate at Theatre503 and has been awarded the 2022 Peggy Ramsay Bursary to be the writer in residence at The Lyric, Belfast. Her short plays have been performed at Hampstead Theatre, Gate Theatre and Arcola Theatre, and presented by Hightide Theatre and Headlong.