Author: FairyPoweredProductions

Mayflower Theatre Southampton – until 29th September

Reviewed by Emma Barnes

5***** 

Disney’s Aladdin has come to Mayflower Theatre in Southampton,  and oh my!  What a treat.    From the moment the curtain rises the stage is alive with colour and energy. We are transported to a world of shimmering palaces, bustling bazaars.  I had expected this show to be vibrant,   but I hadn’t quite anticipated that it would maintain the sheer level of breathtaking engagement for the duration. I found myself quite literally on the edge of my seat for the whole evening,  

Having watched the classic Disney cartoon many times,  I was delighted that the stage show captured so many nostalgic cartoon details. The set design is magnificent, capturing the essence of Agrabah with familiar details, lighting and a host of vibrant colour. The many many costumes are equally stunning, showcasing the opulence and grandeur of the Arabian world. We were treated to sparkly glitter, amazing choreography, magic tricks, special effects and a sublime carpet ride scene, this show simply did everything, and did it really well. A feast for the senses.   

Of course, no Disney production would be complete without the iconic songs. Alan Menken’s score is as memorable as ever, with classics like “Friend Like Me,” “A Whole New World,” and “Arabian Nights” still buzzing round my head as I write these words the following morning. 

The entire cast delivers flawless performances, bringing the animated characters to life with conviction. Aladdin is played by Gavin Adam in his professional debut with charm, charisma and fitting chemistry alongside Princess Jasmine played by Desmonda Cathabel as a spirited and independent heroine. For me it was Genie (Yeukayi Ushe) who stole the show with his comedic timing, pizazz and relentless energy.  If I could,   I would have watched the cave scene at the end of Act 1 over and over just as my childhood self would have sat and rewound the VHS video.    

The production’s pacing is well-balanced, with plenty of humour provided by the villain of the piece Jafar (Adam Strong) and sidekick Iago (Angelo Paragoso). I felt that this was particularly well timed to get us into the mood for pantomime season.   

Aladdin the musical certainly re-cast a spell upon middle-aged me.  All too soon the show reached the fairytale ending and as streamers fell on the thrilled audience during the closing scene I experienced child like joy in picking them up and waving in the air. I thoroughly recommend this magical journey, catch it in Southampton until the 29th September.

Festival Theatre, Malvern – 6^th September 2024.

Reviewed by Courie Amado Juneau

5*****

Tonight’s The National Gilbert & Sullivan Opera Company gift is the always marvellous and (deservedly) ever popular The Pirates Of Penzance (1879).

The Overture presents a river of wonderful, instantly recognizable melodies for us to drift along on in merry reverie. Indeed, many in the crowd found themselves humming (or singing) along. Conductor Murray Hipkin wielded his baton to masterful effect, judging by the musical results which tripped along gaily, amply proving the orchestra were in fine form.

The story is a complicated one principally involving a young lad, Frederic, mistakenly being apprenticed to pirates and his duty holding him in that role until his 21^st birthday which, we discover, is today…

And so it’s straight on with the pirates! It’s astonishing how joyous a chorus line of dancing pirates are and how something that in the mind’s eye looks so unnatural can look so natural on the stage. It sure puts a grin on your face. As does The Pirate King himself; which Charles Rice tackles with gusto and a relish that is infectious, especially during the wonderful “Oh, better far to live and die”.

Frederic (played by David Webb) singing was, naturally, top notch but his comedy timing was just as good with an ability to react to the moment that was impressive. Mabel (Rebecca Bottone) entered with the ever popular “Poor wandering one” and the duet (with chorus) “How beautifully blue the sky” gave further testament to our lead couple’s genuine chemistry. But the most affecting scene in the whole piece (which is, primarily, a comedy) was the second half’s “Stay, Frederic, stay!” which truly brought a tear to ones eye.

The hits just kept coming as Simon Butteriss at last enters as Major-General Stanley and it’s the big one “I am the very model of a modern Major-General”. Delivered with felicitous alacrity and precise verbal gymnastics, Mr Butteriss is a master of the patter song. I loved his direction throughout too (yes, he’s also Director of the show (and last night’s too)) with genuine belly laughs brought forth throughout but, especially, during the chorus of girls interactions with Frederic and the pirates and during “Softly softly to the river” with the policemen and pirates hiding behind implausibly small twigs. Absolutely hilarious.

Ruth (wonderfully played by Gaynor Keeble) is a pivotal role and source of joy throughout as are the chorus of constables and their Sergeant (Bruce Graham) with their crowd pleaser “When a felon’s not engaged in his employment”. Their lot may not have been a happy one (according to the song), but we in the crowd sure were happy at the lot of ‘em.

This is perhaps G&S’s most perfect work and so well regarded with good reason. There’s nothing not to love here. A wonderfully ingenious and convoluted plot, a bevy of the pair’s greatest hits, wonderful costumes, scenery and exotic(ish) locations and a story you can hang your hat on… A splendid time is guaranteed for all and it was delivered tonight in spades.

So, another triumph from this most excellent company. Two down and one to go and, as I said yesterday, you really should rush to see their final show before they leave town (tomorrow’s The Gondoliers).

York Theatre Royal – Friday 6 September 2024

Reviewed by Sal E Marino

5*****

After a 30-year pause, London City Ballet is back on the stage with a mesmerising programme of sublime ballet under the brilliant direction of Christopher Marney.  The Resurgence tour has returned to some of its most beloved venues including York in the UK, Italy, Portugal, China, the Joyce Theatre in New York and will end at Sadler’s Wells in London in September.

The company comprises of 14 dancers who are principal dancers of other lead international dance companies so each performance was beyond magnificent.  Christopher Marney has commented that what makes the Resurgence tour so unique and rare is that the audience gets the chance to see some of the world’s most compelling dancers in one production.  Some pieces have rarely been seen so this tour is a one-in-a-lifetime opportunity. 

The opening of the show started with some nostalgic footage of press releases, interviews, and photographs of the London City Ballet from years gone by.  The late Princess Diana was a champion of the arts and a patron of the company and would sometimes drop into rehearsals.  It was most moving to see her beautiful smile just before the first dance, ‘Larina Waltz’ by Ashley Page.  Perfect is the best word to describe this performance as the light and delicate physicality with technical expertise creates an intoxicating piece. The traditional costumes sparkle within the softly lit set and performed to the music of Pyotr Ilyich Tchaikovsky’s melodies, one can just feel the pure quality of the London City Ballet once again.

The captivating Ballade, unseen in Europe for 50 years, takes place on an austere set with a white backdrop, table, and chairs. As the performance unfolds, four dancers engage in a choreographic game of cards, where the complex dynamics of relationships are explored. MacMillan’s fluid choreography, mixed with many emotions creates a legendary dance.

Arielle Smith’s Five Dances were a myriad of many things: sensual, emotional, tribal in some ways and made me think of the elements and how their energies ebb and flow in cycles. 

Finally, Christopher Marney’s Eve: a re-telling of the biblical tale of Adam and Eve told from Eve’s perspective.  The set and costumes are magical and there is an atmosphere of ancient fairytale created through the medium of birds appearing through mist and fog.  This backdrop creates a bleak landscape and Eve appears all alone until the seductive serpent arrives … without giving too much away we see Eve and Adam rise together in a most dramatic ending.  I absolutely loved this performance and hope Mr Marney will create something similar for ‘Lilith’, the woman before Eve and tell her true story like this one which wasn’t tainted by patriarchal dogma. 

Resurgence is exquisite!  The rare opportunity to see the best of the best all together on one stage is a must see!   

CURVE LEADERS AWARDED HONORARY DOCTOR OF ARTS DEGREES FROM DE MONTFORT UNIVERSITY

Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster have received Honorary Doctor of Arts degrees from De Montfort University Leicester (DMU).

Chris and Nikolai’s doctorates were conferred on them live on Curve’s stage in front of hundreds of students and their families attending the annual DMU summer degree ceremonies.

The Chair of Governors at DMU – and Curve’s former Chair of Trustees – Ian Squires, said:

“It is no over-statement to say that Chris Stafford and Nikolai Foster ‘invented’ Curve as it is today. Chris and Nikolai have made the theatre the crucible of the art form.

“In the hands of Chris and Nikolai it is as if this theatre has become an instrument and it is one that they play with great skill, invention and verve.

“I salute you both.”

Chris and Nikolai’s partnership as Chief Executive and Artistic Director began in 2015 and they have since overseen countless acclaimed productions at the theatre’s Leicester home, in the West End and on tour nationally and internationally, including A CHORUS LINE, BILLY ELLIOT, THE WIZARD OF OZ, MY BEAUTIFUL LAUNDRETTE and more.

They have also formed a close working relationship with DMU during their time at Curve, overseeing co-productions between Curve and DMU’s performing arts, dance and drama students, giving the students an enviable opportunity to work and perform in a world-class professional theatre environment.

After receiving their degrees, the newly appointed Dr Chris Stafford and Dr Nikolai Foster congratulated the students and said:

“It is an honour for us to receive these Honorary Doctor of Arts degrees today, alongside the many brilliant DMU students who we congratulate on their achievements. We’re humbled to have shared this special day with them and to witness such a brilliant celebration of their wonderful accomplishments.

“DMU and its students contribute enormously to our city and we’re proud to have maintained a close partnership with the university over many years. To receive this honour on-stage here at Curve – our home, from an organisation we admire greatly, really does mean so much to us both.

“Our thanks again to the conference committee and the board of governors at DMU for this recognition.”

To find out more about Curve, visit CURVE LEADERS AWARDED HONORARY DOCTOR OF ARTS DEGREES FROM DE MONTFORT UNIVERSITY

Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster have received Honorary Doctor of Arts degrees from De Montfort University Leicester (DMU).

Chris and Nikolai’s doctorates were conferred on them live on Curve’s stage in front of hundreds of students and their families attending the annual DMU summer degree ceremonies.

The Chair of Governors at DMU – and Curve’s former Chair of Trustees – Ian Squires, said:

“It is no over-statement to say that Chris Stafford and Nikolai Foster ‘invented’ Curve as it is today. Chris and Nikolai have made the theatre the crucible of the art form.

“In the hands of Chris and Nikolai it is as if this theatre has become an instrument and it is one that they play with great skill, invention and verve.

“I salute you both.”

Chris and Nikolai’s partnership as Chief Executive and Artistic Director began in 2015 and they have since overseen countless acclaimed productions at the theatre’s Leicester home, in the West End and on tour nationally and internationally, including A CHORUS LINE, BILLY ELLIOT, THE WIZARD OF OZ, MY BEAUTIFUL LAUNDRETTE and more.

They have also formed a close working relationship with DMU during their time at Curve, overseeing co-productions between Curve and DMU’s performing arts, dance and drama students, giving the students an enviable opportunity to work and perform in a world-class professional theatre environment.

After receiving their degrees, the newly appointed Dr Chris Stafford and Dr Nikolai Foster congratulated the students and said:

“It is an honour for us to receive these Honorary Doctor of Arts degrees today, alongside the many brilliant DMU students who we congratulate on their achievements. We’re humbled to have shared this special day with them and to witness such a brilliant celebration of their wonderful accomplishments.

“DMU and its students contribute enormously to our city and we’re proud to have maintained a close partnership with the university over many years. To receive this honour on-stage here at Curve – our home, from an organisation we admire greatly, really does mean so much to us both.

“Our thanks again to the conference committee and the board of governors at DMU for this recognition.” To find out more about Curve, visit www.curveonline.co.uk

Festival Theatre, Malvern – 5^th September 2024

Reviewed by Courie Amado Juneau

5*****

The National Gilbert & Sullivan Opera Company once again graces the stage of the wonderful Malvern Theatres, bringing us two classics from the oeuvre of this incomparable pair.

The evening opens with Trial By Jury (1875). It may be small in stage time but it’s certainly not slight in impact. The story centers around a breach of promise of marriage trial…

The entire ensemble were superb but I will especially mention the plaintiff (Claire Ward) and Defendant (Andrew Brown) who made a most melodious and very believable ex-couple. But the standout was Stephen Godward as The Learned Judge, giving us a cross between all the Tories you can think of and a certain Mr B Johnson in particular. Masterful comic timing – especially the handing out of notes to multiple ladies and their reactions.

In truth the whole piece is farcical with everyone’s reactions, the cases presented and the judge’s solution (in particular) being utterly ridiculous. Don’t get me wrong, this is not a negative in any way. In fact, in this lampooning of a very serious procedure, G&S are to my mind taking some po-faced institutions and morals down a necessary peg or two. For that alone I find it a joyful piece, but when music of such wit and charm is added to the mix it is an invitation to quaff deeply of this heady brew. An invitation that is irresistible.

HMS Pinafore (1878) followed; the story of love conquering class divisions on the eponymous vessel. From the opening notes of the Overture the orchestra, lead superbly by Conductor James Hendry, were having a riotous time. It’s not often that music alone has us laughing out loud but they achieved this feat.

Even the most casual observer will recognize several (at least) hummable tunes in this fine score, such as “I’m called Little Buttercup”, “I am the Captain of the Pinafore” and “I am the Monarch of the sea” and all were sparklingly wrought tonight. They did both the company much credit and G&S’s music proud!

Again, the whole cast were sensational – even more so in this piece than the first. I must commend Simon Butteriss for his hilarious rendering of The Rt. Hon Sir Joseph Porter, K.C.B. There was more than a touch of Austin Powers about him, making it a sheer delight to watch. Apart from his facial expressions and some perfectly delivered one liners worthy of Kenneth Williams, the choreography (with mops) during “Never mind the why and wherefore” was rip-roaring and worth the price of admission alone!

I’d like to also heap enormous praise on Phoebe Smith for a Josephine that soared in emotion due to some pitch perfect acting and singing that was absolutely sublime. What a voice, what a talent. I had to locate my socks from the back row after they were thoroughly blown right off! A rare treat to hear singing this stunning.

So, the first of a triptych by the same composers and company this week leaves me feeling on a high and eager to see Pirates tomorrow… And I urge you all to join me in what will undoubtedly be a fabulous evening’s entertainment.

ANNOUNCED

FOR SONGWRITER

SCOTT ALAN

LIVE AT CADOGAN HALL

SUNDAY 10 NOVEMBER 2024

FOURTH WALL LIVE are delighted to announce that special guest vocalists Rob Houchen (Les Misérables, Godspell, Titanic the Musical), Christine Allado (Hamilton, In The Heights, We Will Rock You),  Amy di Bartolemeo (The Devil Wears Prada, Priscilla Queen of the Desert, We Will Rock You, Bat out of Hell), Oliver Tompsett (Kinky Boots, Wicked, Guys and Dolls), Lucie Jones (The X Factor, Les Misérables, Waitress, Rent) and Stuart Matthew Price (The Rocky Horror Show, Parade, Dear World) will join internationally acclaimed songwriter SCOTT ALAN live at Cadogan Hall on Sunday 10 November 2024 at 6.30PM. Tickets are on sale at www.fw-live.com and www.cadoganhall.com

Scott Alan is an internationally acclaimed songwriter who has worked with some of the brightest stars of theatre, TV, film and recording.  Some of those artists include Grammy Award winning Pentatonix, Grammy nominated artist Jane Monheit, Westlife’s Mark Feehily, Taylor Dayne, Tony Award winning artists Sutton Foster, Adriane Lenox, Randy Graff, Frances Ruffelle, Lea Salonga, film and TV stars Tracie Thoms, Patina Miller, Katie Stevens, Mark Feehily, Cheyenne Jackson, Megan Hilty, Samantha Barks, Jeremy Jordan and reality stars Sam Bailey, Collabro, Diana DeGarmo and Christina Marie, among others.

After the 2007 release of his debut album Dreaming Wide Awake, Alan has gone on to release six further albums that include Keys, What I Wanna Be When I Grow Up, Live, Anything Worth Holding On To, Cynthia Erivo and Oliver Tompsett sing Scott Alan and Lifeline. 

Alan has toured the world, selling out concerts in New York City, Japan, London, Holland, Germany, San Francisco, Boston, Los Angeles, Australia & various cities in South and North America. His compositions have also been featured on American Idol, So You Think You Can Dance, Entertainment Tonight, HBO, MTV, VH1 and various other programs. In addition to songwriting, Scott teaches piano and vocal to students at the Scott Alan Studio in St. Petersburg, Florida as well as virtually all over the world. 

Alan continues to tour and just released his new album Nothing More, a collection of songs written for his daughter, Alex Vivian, featuring Gay and Transgender fathers. 

Scott said “Returning to London after so many years away feels like a coming home.  I can’t wait to return with some of my favourite people, in my favourite city, celebrating the 15 year anniversary of “Dreaming Wide Awake.” To have my dear friend Darren Bell, whom I met at my first UK concert in 2008, and Fourth Wall Live produce this night feels like a giant hug.”

FOURTH WALL LIVE is an entertainment company that produces events, concerts and on-stage shows. In January 2022, FWL presented Bonnie and Clyde The Musical In Concert for two nights to a sold-out audience at Theatre Royal Drury Lane, starring Broadway favourite Jeremy Jordan. The concert broke Drury Lane box office records selling out a two-night run in less than six minutes. 

In recent months, Fourth Wall Live has presented Audra McDonald at the London Palladium, Jeremy Jordan at Theatre Royal Drury Lane, Ariana DeBose at the London Palladium and both Rachel Tucker and Stephanie J Block at Cadogan Hall. FWL regularly presents concerts featuring stars of the West End and Broadway including Keala Settle, Sierra Boggess, Matthew Morrison and Hannah Waddingham among others.

Fourth Wall Live is also a producer of the WhatsOnStage Award winning Bonnie & Clyde The Musical which recently ended its successful run at the Garrick Theatre in London’s West End.

LISTINGS INFORMATION

Sunday 10 November

Cadogan Hall

5 Sloane Terrace

London 

SW1X 9DQ

Performance: 6.30pm

Tickets: From £18

Box Office: 020 7730 4500

Website: www.fw-live.com and www.cadoganhall.com

Instagram: @scottalanmusic / @f_w_live

FIRST LOOK AT

STEVE COOGAN AS

DR. STRANGELOVE

RELEASED TODAY

Full Cast for World Premiere stage production also

announced

Performances begin at Noël Coward Theatre, 8 October 2024

Thursday 5 September 2024 – As rehearsals began this  week for the first ever adaptation of Stanley Kubrick’s comedy masterpiece Dr. Strangelove, starring seven-time BAFTA award winner Steve Coogan as Dr Strangelove, President Merkin Muffley, Group Captain Lionel Mandrake and Major TJ Kong a new photograph and a video of Coogan as Strangelove has been released and the full cast has been announced.

Joining Steve and the already announced Giles Terera as General Buck Turgisdon, the company is completed by: John Hopkins (General Jack D. Ripper), Oliver Alvin-Wilson (Jefferson), Penny Ashmore (Vera Lynn), Ben Deery (General Staines), Richard Dempsey (Frank), Mabli Gwynne (Swing), Mark Hadfield (Faceman), Tony Jayawardena (Russian Ambassador Bakov), Tom Kelsey (Ensemble), Daniel Norford (Ensemble), Dharmesh Patel (Lincoln), Adam Sina (Ensemble),  Alex Stoll (Ensemble) and Ben Turner (Colonel Bat Guano).

Performances at the Noël Coward Theatre in London’s West End begin on Tuesday 8 October 2024 and finish on Saturday 25 January 2025 before a limited engagement at Dublin’s Bord Gáis Energy Theatre from Wednesday 5 – Saturday 22 February 2025. 

Over 20% of tickets at the Noël Coward Theatre are priced at £35 and under, with over 1000 £25 Stalls tickets available to under 30s and additional stalls tickets available to select charities across the run.   The Under 30s tickets will be released at 11am on 6 September 2024.

With a world-renowned creative team led by BAFTA and Emmy Award winner Armando Iannucci and Olivier Award winner Sean Foley, this explosively funny satire of mutually assured destruction will leave a whole new generation of audiences laughing and afraid.

Sean Foley said:  ‘I couldn’t be more thrilled than to be working with such a talented and exciting cast on our version of Stanley Kubrick’s extraordinary ’nightmare comedy’. I know from their amazing collective experience that every character and every situation will not only be seriously dark and terrifying, but also seriously funny.’

Joining Armando Iannucci (Co-adaptor) and Sean Foley (Co-adaptor and Director) on the creative team are Hildegard Bechtler (Set and Costume Designer), Jessica Hung Han Yun (Lighting Designer), Ben & Max Ringham (Sound Designer and Composers), Akhila Krishnan (Projection Designer), Amy Ball CDG (Casting Director), Chris Fisher (Illusions), Lizzi Gee (Movement Director), Dewi Johnson (Associate Director), Laura Hunt (Associate Costume Designer & Costume Supervisor), Lucy Adams (Associate Lighting Designer), Arthur Carrington (Casting Associate), Sam Clarkson for Sound Quiet Time (Sound System Designer), Kate Elizabeth (Wigs & Make Up Supervisor), Chris Marcus and Jonathan Hall for Marcus Hall Props (Props Supervisor) and Chris Hay (Production Manager).    

Dr. Strangelove is produced by Patrick Myles and David Luff, Tulchin Bartner Productions, Playful Productions, Barbara Broccoli, Jean Doumanian, Alexander “Sandy” Marshall, Playing Field, Mark Puddle, Trafalgar Theatre Productions and in association with Wild Yak. Jonathan Cameron is the Executive Producer for the Stanley Kubrick Estate. 

For all information and tickets, visit www.DrStrangelove.com

THE WATERMILL THEATRE

AWARD-WINNING NEWBURY VENUE ANNOUNCES

NEW SHOWS FOR 2025

IAN HISLOP AND NICK NEWMAN RETURN FOR THE FIFTH TIME TO PREMIERE NEW WORK WITH

THE AUTOBIOGRAPHY OF A CAD (7 FEBRUARY – 22 MARCH)

THE RETURN OF AUDREY BRISSON TO THE WATERMILL – AS PIAF (4 APRIL – 17 MAY)

THE YOUTH ENSEMBLE PRODUCTION OF EMIL AND THE DETECTIVES (27 – 29 MARCH)

THREE HENS IN A BOAT (22 MAY – 7 JUNE) A CO-PRODUCTION WITH THE READING REP THEATRE

TICKETS ON SALE TO BULRUSH, FERN, WATER LILY & WILLOW MEMBERS 18 SEPTEMBER 1PM,

FRIENDS & REEDS MEMBERS 25 SEPTEMBER 1PM (MEMBERSHIPS START FROM £35 PER YEAR)

EMAIL SUBSCRIBERS 1 OCTOBER 1PM, GENERAL ONSALE 2 OCTOBER 1PM.

BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044

Joint CEOs Artistic Director Paul Hart and Executive Director Claire Murray, and the whole team at Newbury’s Watermill Theatre are delighted to announce new shows for the first half of 2025, as well as the launch of a new free to join scheme: 16-30: Beginners which gives young people access to £10 tickets and other discounts to selected shows.

Ian Hislop and Nick Newman will return to the Watermill, following the successes of A Bunch of Amateurs, Trial By Laughter, The Wipers Times, and Spike, with a new comedy directed by Paul Hart, designed by Ceci Calf. The Autobiography of a Cad, adapted from the satirical novel by A.G. Macdonell will open the season, playing from Friday 7 February to Saturday 22 March.

Chronicling the rise of self-proclaimed political titan Edward Percival Fox-Ingleby from Eton to Oxford and then on to Parliament, the Cad’s story contains all the hallmarks of success: university escapades with friends taking the blame, courageously signing up to be on the administrative frontline of the First World War effort and doing the decent thing and joining the Tory party in the 1920s.

Committed to ploughing his own way through life, righting the wrongs of his unforgivably liberal parents and armed with a universal disregard for the rules, the truth, and the women in his life, this is Edward Fox-Ingleby, a man who no-one loves as much as himself. This happily fictitious memoir about serving the nation bears no relation to any politicians, past, present or future.

Ian Hislop and Nick Newman said, “We are thrilled to be returning to the Watermill Theatre with our new play, The Autobiography of a Cad. The Watermill has been an enthusiastic supporter of new writing, and this is our fifth play for the theatre, after A Bunch of Amateurs, The Wipers Times, Trial By Laughter and Spike.

Based on A.G. Macdonell’s satirical masterpiece and set in the decades before and after World War One, The Autobiography of a Cad follows in the rich tradition of outrageously subversive British humour. Once again, it is a privilege to have our work showcased by a theatre renowned for staging world-class productions.”

From Thursday 27 – Saturday 29 March, The Watermill’s celebrated Youth Ensemble will present Emil and the Detectives by Erich Kästner, adapted by Carl Miller, directed by Heidi Bird.

A train carriage, somewhere outside Berlin, 1929.

Emil has a shameful secret and pocketful of money.  Opposite him is a mysterious stranger with a cunning plan. A slice of apple and a cut finger later, Emil’s missed his stop, his pocket’s empty and he is pursuing the suspected thief, Mr Snow, across Berlin.

Joined by a detective crew including Toots, Pony the Hat, the Professor and Tuesday, Emil’s frantic dash across the city takes him to the heights of the hotels, through the lengths of the alleyways and to the depths to the sewers to try and keep a promise.

From Friday 4 April – Saturday 17 May, Piaf by Pam Gems, directed by Kimberley Sykes, will draw audiences into the extraordinary world of Édith Piaf, the French chanteuse who captivated the world with her unquestionable talent. Audrey Brisson returns to The Watermill after her much-loved, critically acclaimed and Olivier-nominated performance as Amélie Poulain in Amélie in 2019, which subsequently transferred to the West End.

Pam Gems’ play charts The Little Sparrow’s dramatic rise from the squalor of the streets of Paris to the glamour of international stardom. Piaf intertwines the great loves, losses and questionable decisions of this complex and fragile star with her raw, spellbinding songs, performed live by an ensemble cast of actor-musicians.

Audrey Brisson said, “I’m very much looking forward to being back at the Watermill and getting my teeth stuck into this tremendous project”

From Thursday 22 May – Saturday 7 June, The Watermill and Reading Rep Theatre will present Three Hens in a Boat by Camille Ucan, directed by Abigail Pickard Price. Lovingly inspired by Jerome K. Jerome’s ‘Three Men in a Boat’, Camille Ucan’s new heartfelt comedy charts the twist and turns of intergenerational family dynamics on a hen do with a difference.  Navigating the River Thames from Kingston to Henley and almost all the way down the aisle, Claudette, Gloria and Jay’s well-intentioned family outing soon devolves into a series of hilarious misadventures.

Camille Ucan said “I wanted to write a play about female family dynamics that celebrates the fun and interrogates the friction those relationships bring. I also wanted to explore heritage and how three generations in the same family connect with their own stories, inspired by my Guyanese grandmother and our own hand-me-down history. Jerome K. Jerome’s romp of a novel has provided me with the perfect backdrop for the characters to muse and meander – if you’re a die-hard fan of the book then sorry I got rid of all the men! I’m so excited to see the play come to life on stage.”

Paul Hart said, “What better way to kick off the season than with a new comedy from Watermill regulars Ian Hislop and Nick Newman. This play is a response to journalist, writer and broadcaster A.G. Macdonell’s wonderful book, which could have been written yesterday, from two of our leading satirists.  I can’t wait to see what our Youth Ensemble do with Carl Miller’s adaptation of Erich Kästner’s fast-paced, detective adventure, Emil and the Detectives, which premiered at the National Theatre. It’s a real thrill for us to be reuniting with Audrey Brisson, following her extraordinary performance here in Amelie, in Pam Gems’ monumental play about the iconic Edith Piaf. We’re also delighted to be working with the team at Reading Rep Theatre on Three Hens in a Boat, Camille Ucan’s new comedy inspired by ‘Three Men in a Boat’. It’s a truly brilliant take on the original – combining three generations of women in far too small a boat whilst navigating the Thames and the intricacies of family politics!”

Claire Murray added, “We’re operating as an independent charity since our 100% cut from Arts Council England, so we’re proud to be able to offer an ambitious season that features two exciting new adaptations, the talents of incredible actor musicians and our brilliant youth ensemble. In addition, the launch of 16-30: Beginners, offering discounted tickets to young people, reflects our continuing commitment to the next generation of audiences. We’re looking forward to welcoming everyone to our unique corner of West Berkshire and remain grateful to our audiences, donors and brilliant staff team who make it possible for us to create this work.”

Priority booking opens for Members from Wednesday 18 September, with memberships starting at £35 for the year.  Email subscribers booking opens on Tuesday 1 October with general booking opening the following day on Wednesday 2 October.  Tickets for the season start at £15 and can be booked online at watermill.org.uk or by calling the box office on 01635 46044.

–

Theatre Royal Windsor – until 14^th September 2024

Reviewed by Marcia Spiers

4****

Getting to review a world premiere is in indeed a privilege and this play I think will grow to be an amazing one when it moves to the West End. It left me feeling an immense sense of peace but also sadness, in that life in Russia today remains incredibly difficult for some people and the freedoms gained through Glasnost are almost forgotten.

Directed by Roxanna Silbert, written by Ian Kelly and inspired by true events, the play charts the life of Maria Yudina, a talented pianist who studied at the St. Petersburg Conservatoire with Dmitri Shostakovich, musician turned composer. As one of a few women musicians of her time she was outspoken, determined and dedicated to her faith which was perilous in a regime that frowned upon religion and actively made artists or critics disappear on a regular basis.

The play runs from the 1920s to around 1970 from the perspective of Shostakovich and covers their stormy on and off friendship, her intense romantic relationship with one of her pupils and her dealings with Stalin to whom she was openly defiant. Yet somehow, she survived perhaps because deep down Stalin admired her brazen courage or even more likely he enjoyed her music.

Michael Praed and Stockard Channing both gave gritty performances as Dmitri and Maria. The complexities of their friendship laid bare – Maria’s sense of betrayal and his complicity with the brutal regime to protect his family. On occasion there were a few flawed lines or moves, but this did not detract from the intensity of this play. For me however, the music and dance were the overall stars of the performance. Gala Chistiakova is an excellent Russian pianist whose playing of the Steinway Grand Piano throughout left the me in awe. The intensity of the music demonstrating its power over us. Last, but not least Xander Parish, Xander is an amazing ballet dancer and was mesmerizing throughout the whole performance as well as playing the parts of Russian Soldiers, State Police and Maria’s pupil and only love of her life.

Whether the legend of Maria is a true account of what really happened, it is difficult to tell because no one knows how much of this story is Dmitri’s own musings or what factual information is available from that period in history, particularly during the siege of Leningrad where everything was burned to keep warm and over a million people perished due to starvation or hypothermia . The only static from Maria’s life is her music. That is her legacy.

I do highly recommend seeing this play.

QUEEN’S THEATRE HORNCHURCH PRESENTS

CLASSIC GHOST STORY THE TURN OF THE SCREW

CHILLINGLY REIMAGINED

Henry James’ classic ghost story, The Turn of The Screw, chillingly reimagined by playwright Rebecca Lenkiewicz (Her Naked Skin, National Theatre) will play at Queen’s Theatre Hornchurch from 03 – 26 October.

Bly, Essex. Angelic 9 year-old Flora and precocious 12 year-old Miles are the picture of innocence, rescuing injured birds and playing make-believe by the shady lake. But, as a new governess arrives at the manor to take care of them, disturbing secrets emerge from beneath the undulating waters. Questioning the truth behind the children’s stories, the governess finds it increasingly hard to tell reality from her nightmares – until she is forced to take action. Did you really see her? Or was it just a trick of the light?

Cast includes James Akka who recently received rave reviews for his solo show (Sorry (I Broke Your Arms and Legs), at Edinburgh Festival Fringe); Michael Joel Bartelle (Much Ado about Nothing, RSC; Magic, The Lion and Unicorn Theatre; The Throne, Charing Cross Theatre); Siubhan Harrison (The School of Scandal, RSC; The Ocean at the End of The Lane, National Theatre; Guys and Dolls, West End); Lexine Lee (Hamlet , Southwark Playhouse; I Know What You Awoke Last Spring, R&D National Youth Theatre; The Dickens Girls, New Wolsey Theatre); and Kristin McIlquham (Kerry Jackson, National Theatre; Wake Up People, Queen’s Theatre Hornchurch).

The Turn of the Screw is a gothic horror written in 1898 by Henry James which has been used as inspiration for West End classic The Woman in Black, hit horror movies The Others and The Innocents and was recently adapted for Netflix’s The Haunting of Bly Manor. It is adapted for the stage by Rebecca Lenkiewicz.

Produced by Anita Singh-Creed for the Queen’s Theatre the production is directed by Anna Marsland (The Curious Incident of the Dog in the Night-Time, National Theatre 2021) with Charlie Flynn as Assistant Director. It is designed by Stella Backman, Designer with video and lighting design by Tyler Forward, and sound and composition by Simon Slater. Ruth Cooper-Brown of RC-ANNIE Ltd is the Fight and Intimacy Director.  Casting is by Chloe Blake.  The production manager is Daniel Steward working alongside Jason Benterman (Company Stage Manager), Bernice Rayner (Deputy Stage Manager) and Emily Bardwell (Assistant Stage Manager).

Director, Anna Marsland says: “The Turn of the Screw is such a classic ghost story, which has inspired so much other work in the horror genre, that we sometimes feel like we already know what’s going to happen. Haunted house. Creepy children. A paranoid governess. Yet, when I re-read it, I was surprised by how different it was; it felt modern and unsettling in ways that I didn’t expect. This led me to explore the story of the Havelock family outside the constraints of the usual Victorian setting, using the backdrop of the beautiful Essex Georgian estate – Bly Manor – but setting the action in 1989: a turning point for child safeguarding.

I hope the audience will experience all the thrills and plot twists of a classic ghost story but feel that the questions it raises are still relevant to now.”

Drawing in both believers and sceptics alike. Don’t miss this enthralling mix of Halloween thriller and psychological mystery.

Tickets are on sale now at www.queens-theatre.co.uk  and you can enhance your theatre experience by attending a FREE Director’s Talk on Mon 7 Oct to get an insight into the making of The Turn of the Screw.