Category: Uncategorized

FULL CAST & NEW DATES ANNOUNCED

FOR UK & IRELAND TOUR OF

TONY & OLIVIER AWARD-WINNING SMASH HIT MUSICAL

JERSEY BOYS

FROM 24 NOVEMBER 2021

The producers and creative team are delighted to announce that in addition to the smash-hit West End production currently playing to packed houses at the newly refurbished Trafalgar Theatre, a second company of the Tony, Grammy and Olivier Award-winning musical JERSEY BOYS will head out on a new tour of the UK and Ireland.

Previous tour alumni Michael Pickering and Lewis Griffiths return as Frankie Valli and Nick Massi respectively, with Blair Gibson as Bob Gaudio and Dalton Wood as Tommy DeVito. Luke Suri will play Frankie Valli at certain performances.

Also in the cast are Dougie Carter (Hank Majewski), Ryan Carter-Wilson (Swing), Emma Crossley (Mary Delgado), Jordan James (Gyp DeCarlo), Norton James (Norm Waxman), Michael Levi (Bob Crewe), Tom O’Brien (Swing), Nathan Routledge (Swing), George Salmon (Joe Pesci), Ellie Seaton (Lorraine), Daisy Steere (Francine), Amy West (Swing), and Damien Winchester (Barry Belson). 

The tour will open at New Wimbledon Theatre on 24 November 2021 booking through to 1 April 2023 with several new dates added. Further dates are to be announced.

JERSEY BOYS is written byMarshall Brickman & Rick Elice, with music by Bob Gaudio and lyrics by Bob Crewe.

Go behind the music and inside the story of Frankie Valli and The Four Seasons in the Tony and Olivier Award-winning, true-life phenomenon, JERSEY BOYS. They were just four guys from New Jersey, until they sang their very first note. They had a sound nobody had ever heard… and the radio just couldn’t get enough of. But while their harmonies were perfect onstage, off stage it was a very different story—a story that has made them an international sensation all over again. From the streets of New Jersey to the Rock and Roll Hall of Fame, this is the musical that’s too good to be true.  The show is packed with their hits, including Beggin’, Sherry, Walk Like A Man, December, 1963 (Oh What a Night), Big Girls Don’t Cry, My Eyes Adored You, Let’s Hang On (To What We’ve Got), Bye Bye Baby, Can’t Take My Eyes Off You, Working My Way Back to You, Fallen Angel, Rag Doll and Who Loves You.   

Recipient of Broadway’s Tony, London’s Olivier and Australia’s Helpmann Awards for Best New Musical, JERSEY BOYS is the winner of 65 major awards and has been seen by over 27 million people worldwide. 

JERSEY BOYS originally opened in New York on 6 November 2005 and, by the time it closed on 15 January 2017, it was the 12^th longest running show in Broadway history.  It returned to New York with a new production in November 2017. The JERSEY BOYS US National Tour is still breaking house records in cities across North America.

JERSEY BOYS first ran in London’s West End from 18 March 2008 to 26 March 2017 – nine amazing years – and, at the time, was the sixth longest musical running in the West End.  This year, the musical returned to the West End, opening the new multi-million pound reinstated Trafalgar Theatre on 10 August 2021. JERSEY BOYS previously played two record-breaking UK and Ireland Tours from 2014 to 2016 and from 2017 to 2019.

The JERSEY BOYS UK and Ireland Tour will be staged by the entire original Broadway creative team, led by the Tony Award-winning team of director Des McAnuff and choreographer Sergio Trujillo, with scenic design by Klara Zieglerova, costume design by Jess Goldstein, lighting by Howell Binkley, sound by Steve Canyon Kennedy and projections design by Michael Clark.  The orchestrations are by Steve Orich and the music supervision and vocal arrangements by Ron Melrose. Casting is by Jill Green.

Facebook: @JerseyBoysLondon

Twitter & Instagram: @JerseyBoysUK

2021 – 2023 TOUR LISTINGS INFORMATION

24 – 27 November 2021                                  New Wimbledon Theatre                                                   08448717615*                                                                             

                                                                             www.atgtickets.com/new-wimbledon-theatre               

30 November – 4 December                           New Theatre Oxford                                                          0844 871 7615*                                                           

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

7 December 2021 – 1 January 2022               The Alexandra, Birmingham                                              0844 871 7615*                                                           

                                                                             www.atgtickets.com/birmingham                                    

18 – 22 January                                               The Orchard Theatre, Dartford                                          01322 220000

                                                                         www.orchardtheatre.co.uk

26 January – 5 February                                 Liverpool Empire Theatre                                                  0844 871 7615*                                                           

                                                                             www.atgtickets.com/liverpool                                          

8 – 19 February                                               Stoke Regent Theatre                                                       0844 871 7615*                                                           

                                                                             www.atgtickets.com/stoke                                                

23 February – 5 March                                    Milton Keynes Theatre                                                      0844 871 7615*

                                                                         www.atgtickets.com/miltonkeynes                                 

8 – 19 March                                                    The Alhambra Theatre, Bradford                                      01274 432000

                                                                         www.bradford-theatres.co.uk                                          

22 March – 2 April                                            Sunderland Empire                                                           0844 871 7615*

                                                                         www.atgtickets.com/venues/sunderland-empire         

19 April – 7 May                                               Glasgow King’s Theatre                                                    0844 871 7615*

                                                                         www.atgtickets.com/venues/kings-theatre                   

16 – 28 May                                                     Hull New Theatre                                                               01482 300 306

                                                                         www.hulltheatres.co.uk                                                   

31 May – 11 June                                            Venue Cymru, Llandudno                                                  01492 872000

                                                                         www.venuecymru.co.uk                                                  

14 – 25 June                                                    Grand Opera House, Belfast                                             028 9024 1919

                                                                         www.goh.co.uk                                                                   On sale soon

28 June – 2 July                                               Eden Court, Inverness                                                      01463 234 234

                                                                         eden-court.co.uk                                                               

5 – 16 July                                                       Mayflower Theatre Southampton                                       02380 711811

                                                                         www.mayflower.org.uk                                                     

26 July – 6 August                                           Leeds Grand Theatre                                                         0113 243 0808

                                                                         leedsheritagetheatres.com                                              

16 – 27 August                                                 Blackpool Opera House                                                    0844 856 1111

                                                                         www.wintergardensblackpool.co.uk                              

30 August – 10 September                              Newcastle Theatre Royal                                                  0191 232 7010

                                                                         www.theatreroyal.co.uk                                                    

14 – 24 September                                          Nottingham Royal Concert Hall                                         0115 989 5555              

                                                                         trch.co.uk                                                                            

27 September – 8 October                              New Victoria Theatre, Woking                                           0844 871 7615*

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

18 – 29 October                                              Manchester Opera House                                                  0844 871 7615*

                                                                        www.atgtickets.com/manchester                                      

1 – 12 November                                            Bord Gáis Energy Theatre, Dublin                                    0818719 377 (ROI)                                                            

                                                                        bordgaisenergytheatre.ie                                                  08442485101 (UK)

                                                                                                                                                                     On sale soon                                                                   

15 – 19 November                                          Eastbourne Congress Theatre                                          01323 412 000

                                                                        www.eastbournetheatres.co.uk                                          On sale soon

24 January – 4 February                                Edinburgh Playhouse                                                        08448717615*                                                                             

                                                                           www.atgtickets.com/edinburgh-playhouse                         On sale soon

7 – 11 February                                              His Majesty’s Theatre, Aberdeen                                      01224 641122

                                                                       www.aberdeenperformingarts.com                                    On sale soon

7 – 18 March                                                  Grand Theatre, Wolverhampton                                        01902 42 92 12

                                                                       grandtheatre.co.uk                                                            On sale soon

21 March – 1 April                                          Royal & Derngate, Northampton                                       01604 624811  

                                                                       www.royalandderngate.co.uk                                            On sale soon                                                                   

Further venues to be announced

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

CAST & CREATIVE TEAM ANNOUNCED FOR THE PREMIERE OF A PLAY WITH MUSIC

REDEMPTION

AT THE BIG HOUSE

TEXT AND LYRICS BY JAMES METEYARD (WRITER OF THE 2018 LET AWARD-WINNING ELECTROLYTE) AND MUSIC BY THE LAST SKEPTIK (ACCLAIMED MUSIC PRODUCER & COMPOSER OF THE BAFTA-NOMINATED ISLAND QUEEN)

WEDNESDAY 17 NOVEMBER – SATURDAY 11 DECEMBER

The Big House have today announced the cast and creative team for REDEMPTION, which will premiere at The Big House in their Islington venue – from Wednesday 17 November.

Directed by Maggie Norris (Artistic Director of The Big House), this production brings together an incredible team of artists with young care leavers for a show that represents the company’s ethos of making high-quality artistic work with a social impact.

In a time of accusation and outrage, what does forgiveness look like?

The path to Redemption is hard to see, and even harder to walk.

Redemption follows explosive Maz and her truth-telling bars as she rails at the world and runs from a life in care. When she meets Tayo, a gentle soul with silky smooth vocal folds, they take the first steps of their musical career, but can they hold on to each other when promised the bright lights of success?

A powerful new play-with-music, with text and lyrics by James Meteyard and music by The Last Skeptik (internationally acclaimed music producer and composer, behind the score of critically acclaimed play Superhoe at the Royal Court Theatre), Redemption explores themes of grief, trauma, family and forgiveness.

The Big House opened their venue in Islington in October 2018, offering both a theatre and a space to help young care leavers. The company’s work offers counselling, long term mentoring and training alongside workshops for young people to unleash their creativity and build confidence whilst participating in theatre and film. No-one is auditioned but selected based on need.

Twenty-three-year-old Renaya Dennis will lead the cast in the role of Maz. As a young girl that continuously ran away and who was documented in the press as a ‘14 year old missing teenager’, she was drawn to the character of Maz, having shared a similar story and relating to the theme of rejection.  

During lockdown and with nothing to do, Renaya battled with depression and was left feeling desperate to make a change in her life. Luckily, she was introduced to The Big House. She said of joining the company, ‘I really wanted to get involved with The Big House because of its reputation. Since I’ve come here I’ve met a community of people who are the same as me, who have come from similar backgrounds. I’m able to be myself and finally be accepted. I love learning and I’ve already learnt a lot about myself. I’ve now got an outside perspective and can see the negative things that I do. I’m not fully transformed but I’m on the way.’

The full cast of Redemption are: Alpha Menda, Armani Morris, Fawaz Adekunle, James Atwell, Jayden Atuah-Hemaah, Jermaine Freeman, Keyona Fraser, Nadege Rene, Nia John, Renaya Dennis, Shaq Brown, Shanice Logan, Shaquille Jack, Tajah Workman and Taurean Steele.

Produced by Sarah Stallwood-Hall for The Big House, the production also includesdesign by Linbury Prize winner Zoë Hurwitz (Lovesong of the Electric Bear, Off West End nomination for Best Set Design), lighting designby Martha Godfrey (Time and Tide, Unknown Rivers), video design by Daniel Denton (Misty, BBC 4’s Kes Reimagined), sound design by Jack Baxter (About 500, DNA), movement direction by Kendra Horsburgh (The Pain Killer, & Juliet), musical direction by Jammz (founder of I Am Grime), assistant design by Ellie Roser, production management by Sean Laing and stage management by Leyla Percival.

DISNEY’S THE LION KING REVEAL FULL CAST FOR UK & IRELAND TOUR WITH STEPHENSON ARDERN-SODJE AS ‘SIMBA’

After having a career behind the scenes at ITV’s Coronation Street’s story room and with Idris Elba’s production company Green Door Pictures, Stephenson Ardern-Sodje made his stage debut in the very first West End cast of Hamilton and is currently part of the Globe Theatre 2021 tour.

THE LION KING touring company will also be welcoming Nokwanda Khuzwayo as Nala, who previously played the role in Germany and Brazil. Ireland’s Alan Mchale will be returning in a new role as Timon with Cardiff born newcomer Owain Rhys Davies taking the role of Ed. They will join returning principals Matthew Forbes as Zazu, Jean-Luc Guizonne as Mufasa, Richard Hurst as Scar, Rebecca Omogbehin as Shenzi, Thandazile Soni as Rafiki, Carl Sanderson as Pumbaaand Simon Trinder as Banzai.

The tour will re-open in Dublin this December before moving on to Bristol, Bradford, Cardiff, Southampton and Manchester. Further cities to be announced in due course.

The story of THE LION KING roars into life using spectacular masks, puppets, and costumes to tell the story of Simba’s epic adventures, as he struggles with the responsibilities of adulthood and becoming king.

Having played in more than 100 cities in 20 countries on every continent except Antarctica, THE LION KING’s worldwide gross exceeds that of any film, Broadway show or other entertainment title in box office history. The landmark musical has now been seen by over 110 million people worldwide.

The UK & Ireland tour cast also includes: Lwando Bam, Mamido Bomboko Souchu, Khanyisani Beato, Jorell Coiffic-Kamall, Rushand Chambers, Tau-En Chien, Elisa Chou, Tevin Daniel, Tim Driesen, Oraine Frater, Adebunmi Gabriel, Brian Gilligan, Daniel Griffith, Alicia Hayward, Zalika Henry, Caleaf Henson, Olivia Jones, Melvin Le Blanc, Jochebel Maccarthy, Zanele Mazibuko, Fallon Mondlane, Zanele Ndlovu, Buhle Nkomo, Craig Pedro, Joaquin Pedro Valdes, Connor Pelé Williams, Tara Price, Kyle Richardson, Cristiane Santos De Jesus, Lukin Simmonds, Sherry Tay, Francesca Thompson, Maria Yim and Bukiwe Zinganto.

Julie Taymor’s internationally celebrated stage adaptation of THE LION KING opened on Broadway in 1997 and 25 global productions in nine different languages have been created since then (English, Japanese, German, Korean, French, Dutch, Spanish, Mandarin and Portuguese). THE LION KING is produced by Disney Theatrical Productions, under the direction of Thomas Schumacher. 

The previous tour of THE LION KING broke attendance records across the nation. Since the UK premiere in 1999, THE LION KING London has entertained more than 16 million theatregoers and is the sixth longest-running West End musical of all time. 

The stunning artistry of the production is the work of a team of designers which drew on diverse cultural influences to recreate the rich colours and vast expanses of the African savanna in this daring and inspiring reinvention of one of the most successful animated feature films of all time. 

Julie Taymor, one of the world’s most innovative directors, brought a vast array of disciplines to THE LION KING, including extensive experience staging epic theatre and opera productions, exploring classic myths through ritualised puppetry, mask, and movement. The Lion King was the first musical Taymor directed in the commercial theatre and she made Broadway history by becoming the first woman to win the Tony Award® for Best Director of a Musical.   

The Broadway show’s full creative team, which won five Tony Awards® for its work on THE LION KING, reunited in 1999 to recreate the show in London. Julie Taymor and Michael Curry created hundreds of masks and puppets. 

Scenic design is by British designer Richard Hudson and lighting is by Donald Holder. Costume design is by Julie Taymor, and choreography by Garth Fagan. The book was adapted by Roger Allers, who co-directed the animated feature and Irene Mecchi, who co-wrote the screenplay. 

The original score from the animated film was expanded for the stage and now features 15 musical numbers.  As well as writing completely new songs, South African composer Lebo M created an evocative blend of African rhythms and chorales, with additional material by Julie Taymor and Mark Mancina. 

Elton John and Tim Rice have added three new numbers to the five that they wrote for the award-winning score of the animated film. The resulting sound of THE LION KING is a fusion of Western popular music and the distinctive sounds and rhythms of Africa, including the Academy Award®-winning Can You Feel The Love Tonight and the haunting Shadowland. 

LISTINGS
The Lion King UK & Ireland Tour
thelionking.co.uk/tour/

Bord Gáis Energy Theatre, Dublin
23 Dec 2021 – 4 Feb 2022

Bristol Hippodrome
17 Feb – 19 Mar 2022

Alhambra Theatre, Bradford
24 March – 28 May 2022

Wales Millennium Centre, Cardiff
7 Jul – 27 Aug 2022

Mayflower Theatre, Southampton
8 Sep – 15 Oct 2022

Palace Theatre, Manchester
27 Oct – 24 Dec 2022

Spend a day in Shakespeare’s Theatre as stars of stage and study come together to launch online learning platform A Bit Lit

#ABitLit #ShakespeareDayOut | @a_bit_lit| https://abitlit.co/ 

A brand-new digital learning platform is set to launch with the aim of making the latest academic research available to anyone, anywhere, in a fun and interactive format. A Bit Lit’s debut event will take place on Saturday 15 January and will be the first in a series of events and courses drawing on historical and cultural research and performance expertise.

Theatre lovers and history buffs are invited to experience A Day Out in Shakespeare’s Theatre, an opportunity to imagine a trip to the theatre in the 1600s, diving into the decisions and dilemmas they might have faced while taking in the sights, sounds and even smells of the day in a two-hour experience that will test the limits of Zoom. There will be fireworks, there will be bears – who knows, the theatre may even burn down – they often did.

A Day Out in Shakespeare’s Theatre draws together talents from the worlds of theatre and academia including Sir Simon Russell Beale and This is Shakespeare author Professor Emma Smith, who will introduce the event. Audience members will have a chance to create their own Shakespearean-era production with performers fromimprov troupe The Pantaloons, taking learning about Shakespeare’s theatre to a new, more immersive level.

To help build the atmosphere and provide clues as the audience creates the show, early modern theatre specialists Dolphin’s Back will perform a scene from the era, theatre and performance artist Emma Frankland and Scottish-Thai actor, theatre-maker, writer and drag queen Bea Webster will deliver traffic and weather reports for the day. The audience will then be joined by some of the most cutting-edge academics who will reveal surprising and unknown research about the period, including the Museum of London Archaeology’s Heather Knight on forgotten performance venues and Before Shakespeare’s Callan Davies on the women who ran Shakespearean theatre and Holly Dugan on the smells of early modern London. 

Aimed at those aged 14 and up, audiences will be able to enjoy the experience alone, or as a party, perhaps dressing up to meet friends online. Those who’d like to learn more after taking part are invited to join a follow-on course, called How to Make an Elizabethan Theatre to take place online in the weeks following the event, exploring the same ideas in greater depth. As part of A Bit Lit’s commitment to bringing performance and research to communities often underserved by theatre and universities, all events will be translated into British Sign Language, live captioned and audio described. A programme of further interactive events and follow-on courses will soon be announced soon, including topics such as Black Romance Fiction, The History of Dragons and Queer Urban Histories.

A Bit Lit was born on the first day of the UK lockdown, the brainchild of theatre historian Andy Kesson. During the past year and a half, A Bit Lit has posted almost 150 open-access, free videos celebrating research and creative work from Ghostbusters to coconuts, professional wrestling to reading in outer space. Andy is now joined by the Royal Shakespeare Company associate artist and performer Jimmy Tucker to make A Bit Lit a digital platform bringing research and creativity to new audiences.

Speaking about A Day Out in Shakespeare’s Theatre, Professor Emma Smith, Professor of Shakespeare Studies, University of Oxford, said ‘I’m excited to be part of the launch for A Bit Lit. I look forward to seeing how it’ll shake up what we expect from the online learning space and mash up the insights of research and scholarship with the energies of live theatre and improv.”

Emma Frankland said “Andy brings so much fresh energy and insight to theatre history, which in turn, informs theatre present!”

Bea Wilson said ” I’m really excited to be joining A Bit Lit’s new platform, bringing a sense of play, fun and experiment to the world of learning and performance. I’m especially excited by the way they’ve foregrounded d/Deaf and disabled academics and performers in their patrons, performers and audience.”

Sir Simon Russell Beale said “I’ve known the team behind A Bit Lit for a few years now having worked with Jimmy at the RSC. I know they’re as passionate as I am about opening up the plays of Shakespeare’s era to people everywhere so I’m delighted to be able to be a part of their first event.”

A Bit Lit Founders Andy Kesson and Jimmy Tucker said “We are really excited to launch this new venture, creating a new space for learning together and connecting wide audience to the latest ideas and creative work. ‘A Day Out at Shakespeare’s Theatre’ will launch our new platform perfectly with its blend of archaeological, archival and performance-based discoveries and a real sense of anarchic fun. The theatres of Shakespeare’s time were brand-new experiments in public entertainment and the communication of innovative ideas, and we hope to create something similar online.” 

Andy Kesson is a theatre historian and award-winning teacher, with over twenty years’ experience working across the theatre and university sectors. He is the author of John Lyly and Early Modern Authorship, has edited essay collections on print popularity and the early English theatre, and is a regular advisor and collaborator in the theatre, from mainstream companies such as the Royal Shakespeare Company and Shakespeare’s Globe to newer, fringe and experimental companies such as Dolphin’s Back and The Pantaloons. His research and performance work have generated over one and a quarter million pounds of funding and includes the Before Shakespeare and Box Office Bears research projects and the first large-scale professional production of John Lyly’s queer and trans-positive play, Galatea, directed by Emma Frankland.

Jimmy Tucker has over 30 years’ experience working in the theatre, including collaborations with Michael Grandage, Edward Hall and Roxana Silbert. He is an Associate Artist at the Royal Shakespeare Company, performing in Stratford-upon-Avon, London and New York, including Michael Boyd’s Histories which won three Olivier awards. He is a founder member of the Propeller Theatre Company, and has taught Shakespeare in performance at London’s Globe Theatre.

Listings information

A Day Out in Shakespeare’s Theatre
Saturday 15 January
4-6pm GMT
Tickets £15: https://www.eventbrite.com/e/a-day-out-at-shakespeares-theatre-tickets-194451829657

How to Make an Elizabethan Theatre Course
Monday 14 February -18 March (Four video lectures posted at the start of each week, available to watch in your own time)
Tickets £35

In this course, we consider the theatre of Shakespeare’s time from four unique perspectives: the people making the theatre, the people writing plays for it, the people acting and watching it and the characters brought to life onstage.

The course will be delivered by a series of 4 video lectures, and participants will be offered an additional Q&A online session each week. A reading list will also be made available.

For more information visit https://abitlit.co/events/how-to-make-an-elizabethan-theatre/ 

Bristol Hippodrome – until 23rd October 2021

Reviewed by Lucy Hitchcock

5*****

Glitter, sequins, laughter and tears await as you discover what everybody is saying about Jamie!

Layton Williams excels as the titular Jamie, taking us through his journey of gender identity and acceptance. His stand out number was ‘Ugly in this ugly world’ where his voice soared through the auditorium and told a story that grasped you in seconds. His portrayal of Jamie was gripping and a real beauty to behold. Shane Ritchie, as Loco Chanelle, was superb. He showed vulnerability, mixed with an epic display of feathers and sequins during his standout songs. He strutted the stage with such grace and poise, that you could have sworn he’d donned those heels before!! Shoba Gulati as Ray was a comedic genius-her slick execution and clever lines had the audience laughing continuously-a tour de force. In casting, this was a treat.

The story tells of Jamie as he struggles to fit in with his wish of becoming a drag queen and his dream to wear a dress to prom. Based on the true story of Jamie Campbell but written by Tom MacRae, this is a show that will evoke feelings of sadness and love as you progress through life with Jamie.

This is truly a masterpiece; with outstanding lyrics, music and costumes that will make your jaw drop! I urge you to find out what everybody is talking about!!

New Wimbledon Theatre  – until 23 October 2021

Reviewed by Carly Burlinge  

5***** 

Dolly Parton presents the musical 9 to 5 which tells the story of three women Violet, Judy and Doralee (Louise Redknapp, Vivian Panka and Stephanie Chandos) who all work in a very male orientated American office in the 1980’s, where they all end up getting pushed to their limit!  Their male egotistical boss Mr Hart (Sean Needham) has no respect for women, continuously harasses them in one way or another and sexually discriminates against them. They on the other hand want to be fairly treated, they are fighting against equality and harassment and want female empowerment within the office!  Then when things start to get too much, they suddenly find themselves in very complicated circumstances, where their boss becomes their hostage! They need each other’s help in order to get out of the situation that they have found themselves in and during this time friendships are discovered and made along the way. Enabling them to also take hold of the office changing it for the better. 

The opening of 9 to 5 was just fabulous with lots of glitz and glam to offer with Dolly Parton appearing on screen throughout the production with her fabulous song 9 to 5 coming alive. Including some amazing 80’s outfits and fabulous singing from a very tremendously talented and competent cast. The theatre definitely came alive from the beginning to the end. The production was very upbeat offering great entertainment, much fun and laughter and some risky behaviour with some great one liners and smutty puns making the audience laugh out loud enjoying every moment. 

Violet (Louise Redknapp) plays an Influential, confident self-assuring character her performance was strong throughout offering the audience some brilliant acting as well as a great voice I especially enjoyed the song One of the Boys where she gave it her all. 

Doralee (Stephanie Chandos) plays the country girl that’s misunderstood for the way she looks and dresses, but is smart underneath it all. She plays her part amazingly well with some very powerful vocals keeping in character at all times with her southern accent keeping the audience entertained specially with her spectacular song Backwoods Barbie. 

Judy (Vivian Panka) plays the nervous, shy young lady that comes across very innocent but as the story goes on, she comes out of her shell somewhat! Which has the audience in stiches at times and was very entertaining to watch. 

Mr Hart (Sean Needham) although he plays an obnoxious undermining boss, he brings a lot of humour to the production with many jokes and rude innuendoes that the audience found hilarious at times and very entertaining. 

There was smooth transitioning of scenery and props throughout the production which added to the whole experience. Lighting was also very impressive and the back screen was very effected with the scene changes.  

I have to admit I haven’t had so much fun at a production in a while. I’d thoroughly recommend it – one not to be missed. Just fabulous!! 

Stephen Joseph Theatre, Scarborough – until 30 October 2021

Reviewed by Craig Peak

5*****

This story set just after the Second World War. Robert is a young 16-year-old whose life seems to be mapped out for him. His father, his grandfather, his great grandfather all worked down coal pit and Robert is destined to as well.

Robert considers a different future for himself but doesn’t know what. He decides to leave his village in Durham walking towards the coast and finds himself in Robins Hoods Bay and has a chance meeting with Dolcie. A friendship is formed which has a profound effect on Robert and helps him identify who he is and where his true path leads. The friendship also helps Dolcie come to terms with a traumatic event in her past and helps her deal with the difficult emotions related to it.

How do you adapt a successful novel into a 2-hour play? Very very successfully I would say.

Whilst we see a mere glimpse of these characters lives, we experience the colourful and traumatic history, and gain an insight into possibilities the future can hold.

The set is very simple, and at times is Dolcies main house, the cabin studio at the end of the garden and for a short period we are outside in the Citroen car. We believe these places are real because the actors make them real with the help of superb lighting and subtle sound effects.

There are just three characters in the play.

Robert played by James Gladdon, Dolcie played by Cate Hamer and Romy played by Ingvild Lakou.

Did I believe Robert was a 16-year-old, not at first to be honest? However the quality of James acting drew me in quickly and I believed this characteristic.

Then the appearance of the colourful, articulate, and some would describe as bohemian Dolcie. Wild hair and clothes, and a personality to match. Cate appears to relish the role and displays a myriad of emotions with ease. Some of the funniest, saddest, most tearful, and then joyful moments are made possible because of Cates portrayal of Dolcie.

Ingvilds character Romy yes plays a smaller role but is so important to the story that had it not been played so well could have rendered the play disjointed and lost credibility. Her portrayal of a brilliant but so mentally troubled German poet was wonderful.

It’s been so long since I’ve had the opportunity to attend the theatre and The Stephen Joseph Theatre is such a wonderful venue. Covid restrictions lead to reduced audience. It was truly a privilege to watch this play and these actors doing what they love and do so well.

From Roberts opening monologue I was captivated. Watching the story unfold and watching these characters develop was mesmerising. I felt every emotion – I laughed at the subtle humour and welled up at the astonishingly moving parts. Most of all I felt truly satisfied that I had seen great play and performance.

Midlands Art Theatre (MAC) Birmingham – 20th October 2021.

Reviewed by Nadia Dodd

3***

Cupid’s Revenge, the autumn tour from the New Art’s Club covers just 13 dates over a few weeks nationwide. Tom Roden and Pete Shenton really show their commitment and love to dance, theatre and comedy in the new production.

It’s a story of love but not really a story, its more of a physical poem. It takes words such as love, being and holding then putting them into scenarios that we all find ourselves in at some point during our lifetime, with friends, family and even strangers. It’s about connections that we have and how we show or say our feelings.

What is love? This show shoots Cupid’s arrow into the heart of that very question.

I loved the physical side of the show where both Tom and Pete expressed themselves through movement and made the (quite small) audience giggle.

There were lots of energy, movement and silliness compacted into the one hour production where both cast members remain on stage the whole time.

The stage is covered with artificial grass, has two deck chairs on one side and a partially buried bright red love heart which is also illuminated. Lots of references to Llandudno Pier so that’s where the deck chairs must be set. The set was designed by Will Holt and is very simple and minimalistic but when you see the amount of leaping and jumping around that both Tom and Pete do, that’s why! A shout out also to Lucy Hansom as the lighting designer, very effective indeed.

There are fantastic sound effects used throughout the show, some quite relaxing music and another piece set in a club/disco/party – the sound of them being hit with Cupid’s bow and arrow was also very clever.

You can see the guys have a great working relationship and have put a lot of hard work rehearsing the show, there possibly was some improvisation at points in the performance, where they both simply bounce off each other.

They started working together in 1998 creating dance based comedy shows and have performed internationally over time.

Lots of topics mentioned quite randomly within the hour show, going from politics to sexuality, then gender to religion. There was at least one topic that each person in the auditorium tonight could relate to.

The show touches on great ideas and makes the simple act of holding hands a perfect gesture of love.

TEN COMMISSIONS ANNOUNCED AS PART OF UNBOXED, A CELEBRATION OF CREATIVITY TAKING PLACE ACROSS THE UK IN 2022

• UK-wide programme of live events and digital, online and broadcast experiences
• Creative collaborations across science, technology, engineering, arts and maths
• Wide-reaching learning and audience participation programmes 

Announced today,UNBOXED: Creativity in the UK is a celebration of creativity taking place across the UK in 2022, designed to reach millions and bring people together. It features free large-scale events, installations and globally accessible digital experiences in the UK’s most ambitious showcase of creative collaboration. 

Produced by some of the brightest minds in science, technology, engineering, arts and maths, UNBOXEDfeatures ten major multi-site and digital creative projects that share new ideas and possibilities for the future. Events and activities take place from 1 March to 2 October 2022 – from the Outer Hebrides to Dover and from Omagh to Swansea, and across traditional and online media. 

UNBOXED: Creativity in the UKisfunded and supported by the four governments of the UK and is commissioned and delivered in partnership with Belfast City Council, Creative Wales and EventScotland. 

• The programme begins in Paisley in March with audiences in towns and cities across the UK immersed in 13.8 billion years of history, from the Big Bang to the present day, using innovative projection mapping technology combined with poetry, music and science (About Us). 

• A Scotland-wide project featuring Unexpected Gardens, vertical farms, free music events and plant giveaways reimagines the annual harvest festival for the 21st century, from Caithness to Dumfries (Dandelion).

• Audiences in the UK’s four capital cities are immersed in sound and light in an artwork experienced with closed eyes that explores the limitless potential of the human mind (Dreamachine).

• Communities from across Wales, creatives and a Hollywood production studio are working together to shape and share a story set 30 years in the future across TV drama, digital platforms and live events in three Welsh locations (GALWAD: A story from ourfuture). 

• 20,000 people are being invited to create vast outdoor artworks by lighting up some of the UK’s outstanding landscapes, using new technology to create compelling online experiences (GreenSpace Dark Skies). 

• A scale version of our solar system, staged across 10km sculptural trails in Northern Ireland and Cambridge, invites us to consider our relationships with each other from the perspective of our place in space (Our Place in Space).

• A monumental forest garden of living plants and architectural trees is springing up in the city of Birmingham in celebration of the global origins of the UK’s plants and population (PoliNations).

• A decommissioned North Sea offshore platform is being transformed into an immersive public art installation and celebration of British weather in the coastal town of Weston-super-Mare, suggesting new possibilities for retired structures (SEE MONSTER). 

• Augmented reality, new developments in 3D internet technology and young creatives are shaping one of the most ambitious living history and archive projects ever undertaken (StoryTrails). 

• A festival of nightlife and countercultures inspired by and created in collaboration with the Moon is travelling in convoy around England with a mission to imagine multiple better futures for, and with, young people (Tour de Moon).

Central to UNBOXED are extensive learning and public participation opportunities, reaching hundreds of thousands of schoolchildren, young people and communities. These opportunities include invitations to take part, shape and deliver UNBOXED through school poetry and coding competitions, community workshops, citizen science projects and new employment and skills development opportunities for diverse young creatives and freelancers. There are also partnerships with the BBC, the British Council and the RSA (the Royal Society for Arts, Manufactures and Commerce) that will further global conversations about the role of creativity and innovation in society. 

Martin Green CBE, Chief Creative Officer, UNBOXED: Creativity in the UK, said: “Hundreds of creatives from across science, technology, engineering, arts and maths are creating extraordinary once-in-a-lifetime events and online experiences for millions in the UK’s biggest and most ambitious public creative programme to date. UNBOXED represents an unprecedented, timely opportunity for people to come together across the UK and beyond, taking part in awe-inspiring projects that speak to who we are while exploring the ideas that will define our futures.”

Dame Vikki Heywood DBE, Chair of Board, UNBOXED: Creativity in the UK, said: “As society adapts to the ever-evolving digital revolution and we see our innate creativity play an increasingly important role in all our futures, UNBOXED explores the power of collaboration to generate new possibilities for the way we live, work and play. The programme will support economic recovery in the UK by reanimating towns and cities and expanding our connectivity through new online communities. As the programme unfolds, it will both entertain us and inspire us to imagine what the future might hold by combining the creative powers of science, technology, engineering, arts and maths.”

UNBOXED: Creativity in the UK 

1 March to 2 October 2022  

unboxed2022.uk 

Hull New Theatre – until 23 October 2021

Reviewed by Catherine McWilliams

4****

There is no other way to start this review than to say that last night – we had the time of our lives! It may seem a cliché but the full house at Hull New Theatre had arrived ready to be entertained and to have a good time and that is exactly what Dirty Dancing delivered us. The roar and the standing ovation at the end of the performance said it all, Hull loved it. It was wonderful to be in a full theatre and to witness that reaction.

Dirty Dancing is based around the 1987 film with some additional material and the addition of live music, it is written by the same author, Eleanor Bergstein, and directed by Federico Bellone, with choreography by Austin Wilks. It is set at the Kellerman’s holiday resort where “Baby” Houseman (Kira Malou) and her family have gone for a vacation. “Baby” is a daddy’s girl, about to go to college and ready to change the world. By chance “Baby” discovers the world of the dancers employed by Kellerman’s and is drawn into their problems and soon finds herself at odds with her beloved father (Lynden Edwards). The story of Dirty Dancing touches on the issues of class and the expectations that come from the place of your birth, helping “Baby” to grow up and remove her rose-tinted glasses and to begin to see the world as it is.

Robert Comotti’s set design is wonderfully minimalist, some stairs, two doors and a raised area provide all the different areas of the resort as we zip through the story. The story line does move along very fast and with a change of lighting the stage can quickly become another area of the resort, so make sure you’re paying attention!

Kira Malou is a perfect “Baby” wonderfully idealistic and gauche as she starts to learn to dance with Johnny (Michael O’Reilly). Her dancing was superb, and she had superb timing as she “learnt to dance” providing some wonderful comedy moments. Michael O’Reilly, as Johnny, provided the perfect foil for “Baby” slightly awkward and not at all sure he should be speaking to her, constantly worrying about his job. His dancing was a joy to watch and the duets between Johnny and “Baby” were beautiful. The final scene with “that” dance and yes “the lift” practically brought the roof down, breath-taking to watch.

The dancing throughout was wonderful and the ensemble pieces were a real treat. Carlie Milner as Penny was spectacular to watch as she danced with Johnny.

It was great to see Kellerman’s band (Ben Mabberley, Tom Mussell and Miles Russell) on the stage and in the thick of the action as they so skilfully played an astonishing number of different instruments. Colin Charles, as Tito Suarez, has a stunning voice and he sang a brilliant rendition of “Love Man” as he whipped up the audience with consummate skill, ready for the rest of the performance. A huge mention should also go to Samuel Bailey (Billy Kostecki) who also has a wonderful voice.

Lizzie Ottley as Lisa Houseman, Thomas Sutcliffe as Neil Kellerman and Mark Faith as Mr Schumacher provided us with some real laugh out loud moments with their characters.

So, film or stage version? There is no contest Dirty Dancing on stage is a knockout with its stunning live music and dancing, it is far superior. As the show came to an end our “hands and hearts and voices“ didn’t belong to Kellerman’s but to the cast and production of Dirty Dancing.

Go to see Dirty Dancing and I promise you will leave the theatre with the biggest grin, walking several feet taller and feeling the best you have in an awfully long time.