A West End Christmas – for TheatreMAD the Make A Difference Trust

The Make A Difference Trust is delighted to announce its 14th annual A West End Christmas which will take place at St Paul’s Church Covent Garden on Sunday 3rdDecember at 7.30pm.

The evening will be hosted by Christopher Biggins, who will be joined by the lovely Lesley Joseph.

A sparkling spectacle of stars and song, will feature  some of the top West End shows including Kinky Boots , Five Guys Named Moe, Young Frankenstein, Phantom of the Opera, Lion King and 42nd Street who will be raising the roof with their unique interpretation of Christmas songs both contemporary and classic. Also joining the line-up are the West End Christmas Singers.

The show will feature Jane Milligan, Cedric Neal, Julie Legrand, Maria Kesselman, David Shannon Lucy O’Byrne, Robert Bannon Carolyn Maitland, Alasdair Harvey, Gemma Sutton The Mellor Sisters, Jo Napthine, Shona White, Julie Atherton, Janique Charles, Christopher Howell & Jasna Ivir  . They will be joined by The Royal Academy of Music Post Grads, the Big Noise Gospel choir and our very own MAD Ensemble and West End Christmas Choir.

Produced by TheatreMAD the event raises funds for the Make A Difference Trust, a UK based charity with a vision of a world free from HIV and AIDS. Building on the legacy of 25 years of fundraising by the Theatre industry, they continue to make the vision a reality having distributed over £1.6million in grants to support individuals experiencing hardship across the UK as well as over £1million to support projects with their UK and international partners. For further information about the Make A Difference Trust please visit  www.madtrust.org.uk

For tickets visit: http://bit.ly/2jKcjnT

TO DONATE £3 & HELP MAKE A DIFFERENCE, TEXT: MADT14 £3 to 70070

THE AWARD-WINNING SMASH HIT MUSICAL “ROCK OF AGES” RETURNS FOR A UK TOUR IN 2018

DAN LOONEY AND ADAM PAULDEN

PRESENT

A NATIONAL TOUR OF

THE AWARD-WINNING SMASH HIT MUSICAL

 

“ROCK OF AGES”

OPENING AT THE CHURCHILL THEATRE, BROMLEY

ON 20 SEPTEMBER 2018

AP Enterprises and Collective Productions are delighted to announce a national tour of the award-winning smash-hit musical “ROCK OF AGES” opening at The Churchill Theatre, Bromley on 20 September 2018. Tour schedule below with further touring dates and casting to be announced soon. www.rockofagesmusical.co.uk

“ROCK OF AGES” is an LA love story lavished with over 25 classic rock anthems. Lose yourself in a city and a time where the dreams are as big as the hair, and yes, they can come true!

This hilarious musical comedy features the songs, including We Built This City, The Final Countdown, Here I Go Again, Can’t Fight this Feeling and I Want To Know What Love Is, played loud and proud by an awesome live band.

WARNING: CONTAINS SERIOUS ROCK ‘N’ ROLL DEBAUCHERY!

Now a global smash with extensive runs in London’s West End, on Broadway and in Las Vegas, the show has also been made in to a star studded Hollywood movie.

“ROCK OF AGES” has a book by Chris D’Arienzo and Arrangements and Orchestrations by Ethan Popp.

ROCK OF AGES – UK Tour 2018

THURSDAY 20 SEPTEMBER – SATURDAY 22 SEPTEMBER

The Churchill Theatre, Bromley

www.churchilltheatre.co.uk

ON SALE 27 NOVEMBER 2017

TUESDAY 25 SEPTEMBER – SATURDAY 29 SEPTEMBER

Manchester Opera House

www.atgtickets.com/venues/opera-house-manchester

ON SALE 27 NOVEMBER 2017

TUESDAY 2 OCTOBER – SATURDAY 6 OCTOBER

Wycombe Swan Theatre

www.wycombeswan.co.uk

ON SALE 27 NOVEMBER 2017

MONDAY 8 OCTOBER – SATURDAY 13 OCTOBER

Darlington Hippodrome

www.darlingtonhippodrome.co.uk

ON SALE 27 NOVEMBER 2017

TUESDAY 16 OCTOBER – SATURDAY 20 OCTOBER

Bord Gais Energy Theatre, Dublin

www.bordgaisenergytheatre.ie/

ON SALE SOON

TUESDAY 23 OCTOBER – SATURDAY 27 OCTOBER

Liverpool Empire Theatre

www.atgtickets.com/venues/liverpool-empire

ON SALE 27 NOVEMBER 2017

TUESDAY 6 NOVEMBER – SATURDAY 10 NOVEMBER

New Theatre, Cardiff

www.newtheatrecardiff.co.uk

ON SALE MARCH 2018

TUESDAY 13 NOVEMBER – SATURDAY 17 NOVEMBER

New Alexandra Theatre, Birmingham

www.atgtickets.com/venues/new-alexandra-theatre-birmingham/

ON SALE 27 NOVEMBER 2017

TUESDAY 20 NOVEMBER – SATURDAY 25 NOVEMBER

The Orchard Theatre, Dartford

www.orchardtheatre.co.uk

ON SALE 27 NOVEMBER 2017

MONDAY 26 NOVEMBER – SATURDAY 1 DECEMBER

Lyceum Theatre, Sheffield

www.sheffieldtheatres.co.uk

ON SALE MARCH 2018


FURTHER DATES TO BE ANNOUNCED

Relive One Of Dickens’ Best Loved Tales As Lovehistory Present The Ghosts Of Christmas Past

RELIVE ONE OF DICKENS’ BEST LOVED TALES AS LOVEHISTORY PRESENT THE GHOSTS OF CHRISTMAS PAST

After its success in 2016, Lovehistory return this Christmas with their festive production The Ghosts of Christmas Past, coming to Liverpool’s St George’s Hall from Monday 4 – Wednesday 13 December.
The creative minds behind 2015’s Dickensian Christmastime and the ever-popular Murder at St George’s Hall and Catacombs of Liverpool’s Darkest History series present their latest immersive promenade production.
The Ghosts of Christmas Past will once again delve into the depths of a Dickensian world, bringing to life some of the most beloved characters from much loved novelist Charles Dickens’ A Christmas Carol – with a specific focus on the darker elements of one of the authors’ best loved classics.
It is Christmas Eve, and as the old skinflint Ebenezer Scrooge is about to retire to his bed contemplating his fortune, he is disturbed by the haunting presence of the ghosts of his past.
Go back to Victorian times as the performance journeys through Ebenezer’s chilling encounter, as he is urged to heed the spirits messages and change his ways.
The passages and cells below St George’s Hall provide the backdrop from which Lovehistory recreate the dark underworld that Dickens so often explored in his works – the perfect setting for these ghostly tales, presented by professional actors.
LoveHistory have been setting a trend for live promenade theatre experiences for over five years and this Christmas special will provide a truly authentic Dickensian experience.
Visitors will encounter the old miser himself Ebenezer Scrooge, the humble and poor Cratchit family, and of course the ghosts of Christmas past, present and future, as well as some other key characters from other Dickens’ novels.
This immersive, theatrical experience will provide festive fun with a difference, with a few surprises in store too.
Judy McLean, Creative Director of Lovehistory said: “These tours were hugely popular last year, and we are so lucky to be able to present the production in this iconic building which has such a strong connection with Charles Dickens himself – who often held readings here.
“It is very fitting that we can once again bring one of his most loved tales and some of his most infamous characters to life, transporting audiences to a bygone era.”
St George’s Hall Manager, Alan Smith added: “We are delighted to once again welcome back Lovehistory to St Georges Hall – their promenade productions always prove incredibly popular with our audiences.
“A Christmas Carol is such a timeless classic tale – known by children and adults alike and it represents the essence of Christmas; The Ghosts of Christmas Past will offer a wonderful Dickensian adventure for the whole family this Christmas.”
Can Ebenezer redeem himself before it’s too late? Be sure to book your tickets and come along to St George’s Hall this Christmas to find out!
Age Restriction: 10+
LISTING DETAILS:
 
The Ghosts of Christmas Past
Monday 4 – Wednesday 13 December 2017
Times: 6:00pm / 7:00pm / 8:00pm
Tickets: £16.50 (inc. booking fee) plus £2.25 fulfilment fee per booking
 
VENUE DETAILS
St George’s Hall, Heritage Centre Entrance, St John’s Lane, Liverpool.
 
BOOKING DETAILS
Purchase in person at TicketQuarter, Echo Arena Liverpool, Kings Dock, online atwww.ticketquarter.co.uk or on 0844 800 0410.

Little Women Extends Its Run at Hope Mill Theatre Due To Popular Demand!

LITTLE WOMEN EXTENDS ITS RUN BY ONE WEEK DUE TO POPULAR DEMAND

 

Five Star Rave Reviews and Standing Ovations for

European Premiere at Manchester’s Hope Mill Theatre

 

The European premiere of Little Women The Musical has opened to five star rave reviews and standing ovations at Manchester’s Hope Mill Theatre.

 

And today (Thursday, 23 November) it’s been announced that an extra week has been added to the show’s original four-week run to meet high demand.

The show will now continue to wow audiences at the award-winning Ancoats venue until Saturday 16 December.

 

Little Women The Musical is brought to the Manchester stage by the successful collaboration team of Katy Lipson of Aria Entertainment and Joseph Houston and William Whelton of Hope Mill Theatre.

Together, they have already enjoyed critical acclaim by bringing the classic musicals of Parade, Hair, Yank! and Pippin to the city in their quest to revive classic musicals – some of which have never before been seen in the UK.

The production has been heralded a huge success. Five star rave reviews by critics and standing ovations from theatregoers have all played a vital role in high demand from the public for the run to be extended.

Joseph Houston from Hope Mill Theatre commented: “What an incredible opening for the show – five star rave reviews, standing ovations, sold out shows and now, due to popular demand, we’ve added an extra week to an already strong four-week run. Little Women The Musical is receiving such a warm welcome for its European premiere in Manchester. If theatregoers are looking for a show that’s different this festive season, they will certainly enjoy this story of family, love and hope. Join us at Hope Mill Theatre this Christmastime for this wonderful production.”

WHAT THE CRITICS SAY

 

The Times ★★★★

‘Impressive…boundless energy…a triumph’

 

The Stage ★★★★

‘Compelling and empowering’

 

The Reviews Hub ★★★★★

‘Real gem of a musical’

 

Sincerely, Amy ★★★★★

‘An absolute triumph in storytelling’

 

British Theatre Guide

‘Very worthy European premiere’

 

North West End ★★★★

‘The cast overall performed impressively…it rivalled that of West End productions’

Little Women The Musical is based on Louisa May Alcott’s captivating 150-year-old book, which follows the adventures of Jo, Meg, Beth and Amy – the four March sisters.

Jo is the second eldest daughter and an aspiring writer. She receives yet another rejection from a publisher. But when her friend, Professor Bhaer, tells Jo she can do better by making her stories more personal, she weaves the story of how she and her sisters grew up in Civil War America – resulting in a tale of self-discovery, heartache, hope and everlasting love.

The Manchester production is co-produced by Matthew Hopton from Knockhardy Productions;directed by Bronagh Lagan; choreographed by Iona Holland; cast by Jane Deitch; design from Nik Corrall; lighting design by Ben M Rogers and sound by Calum Robinson.

The stunning score for Little Women The Musical is by Grammy Award winner Jason Howland. The lyrics are by Mindi Dickstein, and book by Allan Knee. Performed by arrangement with Musical Theatre International (Europe) Limited.

Website:         www.hopemilltheatre.co.uk

Facebook:       Hope Mill Theatre

Twitter:           @hopemilltheatr1 @LittleWomenMCR @AriaEnts @Knockhardy

NEW LISTING INFORMATION

LITTLE WOMEN The Musical

 

Now running until Saturday 16 December 2017

Hope Mill Theatre

Hope Mill, Ancoats, 113 Pollard Street

Manchester, M4 7JA

 

TICKETS

Tickets from £16

Tickets are on sale via www.ticketsource.co.uk/hopemilltheatre

ENGLISH TOURING THEATRE ANNOUNCE 2018 DATES FOR EXTENDED TOUR OF CONOR MCPHERSON’S THE WEIR

ENGLISH TOURING THEATRE ANNOUNCE 2018 DATES FOR EXTENDED TOUR OF

CONOR MCPHERSON’S THE WEIR

English Touring Theatre and Mercury Theatre Colchester present

The Weir

By Conor McPherson

On tour:
23 January – 10 March 2018

Cast: Louis DempseySean MurrayJohn O’Dowd, Sam O’Mahony and Natalie Radmall-Quirke

Director: Adele Thomas; Designer: Madeleine Girling; Lighting Designer: Lee Curran

Composition and Sound Designer: Richard Hammarton; Casting: Ginny Schiller

 

English Touring Theatre today announces additional tour dates of their production of Conor McPherson’s Olivier Award-winning play The Weirco-produced with Mercury Theatre Colchester. Following the success of the play’s current run, English Touring Theatre have extended the tour into 2018, beginning on 23 January at the Lowry Theatre in Salford before touring to the Minerva Theatre, Chichester; Theatr Clwyd, Mold; Kings TheatreEdinburgh and Richmond Theatre, London before completing its run at Cambridge Arts Theatre in March. The full cast – Louis Dempsey (Finbar), Sean Murray (Jack), John O’Dowd (Jim), Sam O’Mahony (Brendan) and Natalie Radmall-Quirke (Valerie) – are returning for the tour which forms part of the ETT’s 25thanniversary season. Full details of the season will be announced shortly.

In a small Irish town, the locals exchange stories round the crackling fire of Brendan’s pub to while away the hours one stormy night. As the beer and whisky flows, the arrival of a young stranger, haunted by a secret from her past, turns the tales of folklore into something more unsettling. One story, however, is more chilling and more real than any of them could have ever imagined.

A shadowy tale delving into the dark corners of human lives, The Weir is a co-production between English Touring Theatre and Mercury Theatre Colchester.

 

 

Conor McPherson is a playwright and screenwriter. He has won several awards including the George Devine Award, Stewart Parker Award and an Olivier Award. His credits for theatre include The Veil (National Theatre), The Dance of Death (Trafalgar Studios), The Night Alive (Donmar Warehouse, Atlantic Theater, New York) and The Girl from the North Country (Old Vic). For film, his credits include The Eclipse and Strangers and his television work includes Paula. He is currently working on the screenplay Double Cross.

 

Louis Dempsey plays Finbar. His theatre credits include Stones in His Pockets (Vienna’s English Theatre), The Taming of the Shrew (Shakespeare’s Globe), Juno and the Paycock (Liverpool Everyman/Bristol Old Vic Co-Production), The Seafarer (Perth Theatre and Lyric Belfast), Some Voices (Young Vic), Wing And A Prayer (BAC), Last Apache Reunion (The Tobacco Factory) and Brothers Of The Brush (Liverpool Everyman). Television credits include Dream TeamSea Of SoulsOmagh and The Bench. For film, his credits include Us and ThemLegendCloud AtlasGrabbersSix BulletsRevolverThe Last DropSpivsTroy and Shooters.

 

Sean Murray plays Jack. Credits for theatre include, A Tale of Two Cities (Royal & Derngate, Northampton and UK tour), The Hook (Royal & Derngate, Northampton), The Armour (Defibrillator at the Langham Hotel), Holy Warriors (Shakespeare’s Globe), The Double and The Tempest (Theatre Royal, Bath), Romeo and Juliet and The Importance of Being Earnest (Royal Lyceum, Edinburgh), Othello, The Comedy of Errors, Tartuffe, School for Scandal, The Rivals and The Life of Galileo(Bristol Old Vic), A Woman Killed with KindnessThe Phoenician WomenRomeo and Juliet and Two Gentlemen of VeronaThe Cherry Orchard (RSC), Jane Eyre (The Ambassadors Theatre, Trafalgar Studios 1), The Terrible Voice of Satan (Royal Court), The Crucible (UK tour) and Buried Child (National Theatre). Television credits include Robin Hood, Dunkirk, Without Motive andBerkeley Square. Film credits include HamletA Rather English Marriage and Finding Mallory. Regular appearances on BBC Radio 4.

 

John O’Dowd plays Jim. His theatre credits include Common (National Theatre), Stonebreaker (Lyric Theatre Hammersmith), The Head of Red O Brien (Truewest), For The Birds (New York Fringe). Television credits include Moone Boy 1,2 & 3Don’t You Know Who I Am, Capturing Santa, The Rahilly, Single Handed, Maru and Mobs Mheiricea. Film credits include Jimmys Hall and Don’t You Know Who I Am.

 

Sam O’Mahony plays Brendan. His theatre credits include Pride and Prejudice and The Mariner(Gate Theatre, Dublin), The Silver Tassie (National Theatre), Oh What A Lovely War (Northern Stage), The Good Soul Of Szechuan (Young Vic), Monged (Belgrade Coventry), King John, Much Ado About Nothing and Romeo and Juliet (RSC). Television credits include Guilt and X Company.

 

Natalie Radmall-Quirke plays Valerie. Her theatre credits include The Winter’s Tale (Cheek by Jowl), Martyr (Actors Touring Company), The Playboy of the Western World (Southwark Playhouse), Romeo and Juliet, Celebration and Jane Eyre (Gate Theatre, Dublin), Twelfth Night, No Romance, The Plough and the Stars, The Comedy of Errors, An Ideal Husband (Abbey Theatre, Dublin), Steel Magnolias (Gaiety Theatre, Dublin), Mud (Gate Theatre, London), I Witness (Finborough Theatre), Footfalls (Players Theatre) and Crave (Samuel Beckett Centre and Studiobühne, Cologne). Film credits include Davin and The Canal.

 

Adele Thomas directs. Her previous directing credits include Thomas TallisThe Oresteia and The Knight of the Burning Pestle (Shakespeare’s Globe), Unusual Unions (Royal Court), The Bloody Ballad of Mary Maid (Soho Theatre, UK tour), Apparitions of Spirits – With The Forsyte Sisters (Gagglebabble, Theatr Iolo), Write Here (Traverse Theatre), My People (National Theatre of Wales), The Blue Lenses and Under Milk Wood (Royal & Derngate, Northampton), Cityscape: Deluge/No VacanciesThe Push and the Pull and An Enemy For The People (Sherman Cymru). Her opera work includes Cosi Fan Tutte (Northern Ireland Opera) and Senendd (Welsh National Opera).

 

ENGLISH TOURING THEATRE

English Touring Theatre is one of the UK’s most successful and influential touring companies, winning the UK Theatre Awards Best Touring Production in 2014, 2015 & 2016. The company works with leading artists to stage an eclectic mix of new and classic work for audiences throughout the UK and overseas; theatre that is thrilling, popular and engaged in the contemporary world. At the heart of everything ETT does is the passionately held belief that everyone, wherever they are in the country, deserves to have access to the very best theatre. In 2017 ETT toured to 40 venues throughout the UK. The company’s co-production of Othello, with Shakespeare at the Tobacco Factory, ran at Wilton’s Music Hall in May and Sam Holcroft’s Rules for Living and Conor McPherson’s The Weir toured nationwide in the Autumn.

www.ett.org.uk
@ETTtweet

 

MERCURY THEATRE COLCHESTER

The Mercury Theatre Colchester is the most active producing theatre in East Anglia, and is a vital centre of excellence in the East’s growing creative economy. The Mercury exists to put theatre at the heart of the community it serves and to make work in Colchester that reaches audiences and generates critical attention regionally and nationally. 

www.mercurytheatre.co.uk

@mercurytheatre

The Weir                                                                                                                                                             Listings

 

 

The Lowry, Salford Quays

23 – 27 January 2018

Box Office: 0843 208 6000

www.thelowry.com

Minerva Theatre, Chichester

30 January – 3 February 2018

Box Office: 01243 781312

www.cft.org.uk

 

Theatr Clwyd

13 – 17 February 2018

Box Office: 01352 701521

www.theatrclwyd.com/en

Kings Theatre, Edinburgh

20 – 24 February 2018

Box Office: 0131 529 6000

www.edtheatres.com/kings

Richmond Theatre, London

27 February – 3 March 2018

Box Office: 0844 871 7651

www.atgtickets.com/venues/richmond-theatre/

 

Cambridge Arts Theatre

6 – 10 March 2018

Box Office: 01223 503333

www.cambridgeartstheatre.com/

Crazy For You Review

Mayflower, Southampton – until 25 November 2017.  Reviewed by Karen Millington Burnet
5*****
A real shock! It was high energy from the outset…great music and the choreography was outstanding; at one point I counted seventeen people on stage at once. Of the two lead actors, Tom Chambers who plays Bobby Childs in this musical was a class act, with superb dancing; “obviously his days on Strictly Come dancing were well spent”.  He also sang well; a man of many talents. He was a very good match with Charlotte Wakefield playing the part of Polly Baker. She played a strong character and was loud and brash…and sang and danced wonderfully with her co star Tom Chambers.
Constant, quick-fire one-liners…the humour was well timed and kept coming.
The first half seemed to be over in minutes…as the pace of the show just did not ease. The musicians intertwined their roles on stage with ease …the music was toe tapping and high energy. Not-only did they play their instruments well, they danced, sang and acted with incredible talent in this musical by the acclaimed George & Ira Gershwin.   The play is a typical love story…and it was easy enough to follow and predict the story-line.  We came away but feeling energised and chirpy.
This gets a 5 out of 5 for me as I came away humming the music in the car on the way home.
The whole performance was so wonderful…I didn’t even notice the beautiful Mayflower theatre as my gaze was fixated from one scene to the next.
Amazing! We were left exhausted for all the fun.

Wait Until Dark Review

York Theatre Royal – until Saturday 25th November.  Reviewed by Michelle Richardson

3***

The Original Theatre Company in association with Eastbourne Theatres present Frederick Knott’s play Wait Until Dark, which is probably best known for the 1967 film staring Audrey Hepburn, a role for which she was nominated for an Oscar .

The story is set in Notting Hill in the 1960’s, all staged in a downstairs flat. It follows Susy, who is blind and in fact is played for the first time by a blind actress (Katrina Jones), who has been left alone in her flat and becomes the target of 3 conmen, who are searching for a doll which is packed with heroin.

Mike (Jack Ellis) and Croker (Graeme Brookes) have been summoned to flat by Roat (Tim Treloar) and are somewhat reluctantly persuaded to help him retrieve the aforementioned doll. Mike manages to worm his way into her home convincing Susy that he is an old friend of her husband Sam. Croker is introduced as a policeman and the menacing Roat is first his father and then the father’s son, excusing his father’s behaviour. Confusing? I certainly thought so, especially with him running up and down the stairs, slamming doors and I did get a bit lost of who he was pretending to be, it all got a bit too much during the first half of the play.

Jones delivers an ok performance, but it was a bit over the top during the hostage scene with Roat and I did find that quite off putting. Ellis was affable as Mick and not threatening at all, not sure if he was meant to be. I did slowly warm to his character and did believe his attack of conscious towards the end. Treloar was certainly deranged as Roat, but at times his accent was all over the place and I wasn’t sure if he was even meant to have one, he was menacing though.

With a staircase in a basement flat, and period fixtures and fittings the staging is spot on. The lighting is crucial to this show and we were warned beforehand that there would be sections where there would be complete darkness. Obviously, the lighting, or should I say lack of, as well as the flickering strip light, is intended to emphasis the drama right up until the very end, and it does help the suspense.

After struggling with the first half with not being quite sure what was happening and why, I’m glad to say that after the interval the plot was less confusing and I did enjoy it more. There were some decent performances but the story was just a bit of nonsense and implausible, lacking in the suspense it was craving for, average at best.

 

Beautiful the Carole King Musical Review

Hull New Theatre – until 25 November 2017.  Reviewed by Catherine McWilliams

5*****

“Girls don’t write music, they teach it” says Carole King’s mother at the beginning of this musical, thankfully of course she ignored this piece of advice and we follow her progress from the young 16 year old selling her first piece of music to a performance at the Carnegie Hall as a multi Grammy award winner. And what music it is, from the early hits such as “It might as well rain until September” to “You’ve got a friend” and the stunning “Beautiful”.

Bronté Barbé is superb as Carole King, her voice is powerful and indeed beautiful, yet it is also full of pathos and poignancy. She is totally believable as the gauche young school girl growing into the married successful songwriter, who still somehow does not quite believe in herself. She never faltered in showing Carole King’s emotions and made us feel with her.

Grant McConvey as Gerry Goffin was convincing in his relationship with Carole, appearing almost contemptuous towards her as the relationship broke down. The audience last night was clearly fully immersed in the story, as when Carole finally told Gerry Goffin enough was enough there was a huge round of applause!

The story also includes the songs of Carole’s friends and song writing rivals Cynthia Weil and Barry Mann (played with just the right touch by Amy Ellen Richardson and Matthew Gonsalves), who add humour to the story.

The music is always at the centre of this production and the ensemble do a fabulous job of bringing it alive and evoking the period in which it was produced. There is slick dancing from “The Drifters” and “Shirelles” whilst “Little Eva” leads the Locomotion across the stage. Scenes and songs change rapidly and smoothly, the lighting and scenery taking us from office to homes to “on the roof”. A special mention should go to the costumes which accurately depicted the passing years.

Full of timeless music and superb talent, this show is definitely one to go and see.

Cilla The Musical Review

Palace Theatre, Manchester – until 25 November 2017.  Reviewed by Marcus Richardson

5*****

Cilla Black was an iconic woman who most of us know either from TV or her music career, died suddenly from a fall two years ago.  The musical Cilla is a homage to her life and the start of her career. We see young Cilla just an average scouse girl in the 1960s, and we follow her rise to stardom. The musical included songs by her and the Beatles who she had close connections with for a long time.

I cannot put into words how good Cilla was, we are given the best vocals you will ever hear from all the cast, but Kara Lily Hayworth (Cilla) played the role with so much perfection and finesse, I’m sure Cilla would be pleased, with how she sang and just captured her iconic character that the nation loved. We see how she grew up in Liverpool listening to the ‘Big Three’ and then started performing with them, then we are introduced to her friend Richard who is better known as Ringo. We see her relationship with her partner Bobby, played superbly by Carl Au.  They share the song ‘You’ve Lost That Loving Feeling’ together in the second act which took the whole audience breaths away. How can anyone talk about Cilla with mentioning Brian Epstein, one of the most famous managers in the world, played by Andrew Lancel – who knows the character pretty well as he played the man himself in the production of ‘Epstein- The Man Who Made The Beatles’.  Needless to say he gave the role a stellar performance capturing his complex character and relationship with Cilla Black

The staging and costumes captured the 1960s so well, with everything having a seamless finish, the scene changes took no more that 5 seconds and with the detail that some scenes had I was impressed, as at some points there was a whole array of furniture. The costumes mirror the decade and looked stunning on stage.

I could force anyone to see a show at this moment in time it would be to see this show, it is an instant classic with the lovable characters and iconic songs that you will be singing along to, the songs like ‘Anyone Who Had a Heart’ and ‘You’re My World’. The musical is done to a standard that makes it seems like you aren’t even watching a show with the amount of precision from both the cast and crew.

The Tragedy of Macbeth – Shakespeare for the Game of Thrones generation

Icarus Theatre Collective with Millenium Forum, Derry present
The Tragedy of Macbeth
Shakespeare for the Game of Thrones generation
International Tour – January-April 2018

The vicious, barbaric undercurrent in Shakespeare’s fear-filled tragedy erupts in Icarus Theatre’s kinetic and blood-thirsty production.

Unrivalled on the battlefield, Macbeth is rewarded with rank and favour by a grateful king but the war has left its scars. With each enemy Macbeth butchers, his lust for power takes a more menacing grip. Spectres slaughtered on the battlefield drip poison in his ear, and passions erupt as he ferociously seizes the throne. But, violence breeds violence, and a reign born in blood quickly spirals out of control as Macbeth’s demons return to destroy him.

Set in the 11th century and culminating in an epic battle filled with revenge, justice, and beheadings, Icarus Theatre blends the traditional and the physical to bring to life some of literature’s most vibrant language and characters.

This production centres around the idea that Macbeth himself is suffering from PTSD. Director Max Lewendel comments, War is hell, and medieval warfare even more so. There is something in the psychology of PTSD that resonates here in a very Hitchcockian kind of way. This world is a supernatural nightmare for Macbeth and I wanted to explore the idea that the horrors of whathe has done and seen lurk in every shadow, in every corner.

In addition to this new psychological element, many of the traditional male roles are here cast
as female characters, stressing the importance of gender parity on stage. This is a patriarchal
world, but one that is being challenged by powerful women pushing forward change.