Author: FairyPoweredProductions

Grand Opera House York 21 March 2017.  Reviewed by Michelle Richardson

Before The Beatles, before The Stones, Rock ‘n’ Roll was born.  28 years after its West End debut Buddy – The Buddy Holly Story is once again touring the UK.

It tells the story of Buddy’s meteoric rise to fame, with The Crickets, marriage to Maria Elena Santiago and his tragic and untimely death less than 2 years later at the tender age of 22, in a plane crash that also claimed the lives of Ritchie Valens and The Big Bopper.

Buddy, played wonderfully by Glen Joseph, alternating performances with Alex Fobbester, starts off as a country singer but really wants to be a rock ‘n’ roll singer. He is geeky and certainly knows his own mind, refusing to get rid of his glasses when told that rock ‘n’ roll stars don’t wear glasses, instead opting for an even thicker pair so they cannot be missed

Joseph is fantastic as Buddy and I suppose like Buddy he does not look like a star, but somehow he manages to command the stage. He is funny, nerdy and he really brings Buddy to life with his vocals and guitar. He is well supported by the rest of the cast.

We see Buddy break up with The Crickets, played by Joe Butcher and Josh Haberfield before touring with The Big Bopper and Valens.

The second half feels like we are in the audience for their final concert, I am still singing in my head Chantilly Lace even though I am not that familiar with it.

The multi talented actors and musicians all provide a great 2 hours worth of entertainment, with all the well known songs, Peggy Sue, That’ll Be the Day and Oh Boy, amongst them.

After the recent passing of Chuck Berry it is ironic that Johnny B Goode is part of the show. The cover was fantastic, especially Josephs’ behind the head guitar playing. It certainly was a fitting tribute.

Admittedly a lot of the audience were of a certain age, but it appeals to everyone, the cast really pull it off. By the end everyone was up on their feet, dancing and singing along and asking for more!

Showing in York until Saturday 25th March.

Freckle Productions launched by

Scamp Theatre’s Jennifer Sutherland

Jennifer Sutherland, co-founder of the multi award-winning Scamp Theatre, has launched Freckle Productions with a focus on bringing inspirational stories to the stage for children, young people and families.

Freckle will kick off their busy 2017 with a return to the West End for the much-loved Tiddler and Other Terrific Tales – a medley of Julia Donaldson and Axel Scheffler’s best-known titles that weaves together live music, puppetry and a whole host of colourful characters. Freckle will also be co-producing the sell-out Stick Man with Scamp Theatre in the West End and beyond.

Looking ahead, there is a host of varied and exciting new productions. These productions will be varied; some like Tiddler, are stage adaptations of books, some are original and emerging tales, and some are ancient stories that are as poignant today as when they were first told. There is also a series of ground-breaking non-fiction shows in development which will explore science, the environment and the world in action. Freckle’s work aims to be vigorous and challenging; engaging both hearts and minds to fire the imaginations of young audiences who may be experiencing theatre for the very first time but also changing the awareness of what performance can be for regular followers.

Freckle’s work uses many different forms including puppetry, live music, and dance to find the magic inside the ordinary and underneath the everyday.

Sutherland comments, Everything has a season and, after many happy years with Scamp, we felt it was the right time to move our focus to independent projects and work with new collaborators in new ways. However, I look forward to continuing to co-produce the shows we made to date as Scamp. With Freckle, I am excited about developing new partnerships with venues and artists and continuing to work on middle and larger scale projects. I am also particularly delighted to continue working with Julia Donaldson and Axel Scheffler, as well as building new relationships on my other upcoming projects.

Freckle has a national and international reach, touring theatre all across the UK as well as overseas, in partnership with a wide variety of creative artists, theatre makers, companies, venues and communities.

While with Scamp, Sutherland’s production highlights included: Pirate Gran (UK Tour 2014), Tiddler and Other Terrific Tales (UK Tours 2012, 2013, 2016 Edinburgh Festival 2012, 2013), Friend or Foe (UK Tour 2011), Stick Man (UK Tours 2010, 2011, 2013, 2015, 2016 Edinburgh Fringe 2010, Dubai, Hong Kong, Sydney, West End 2011 – 2016) and Private Peaceful (UK tours 2005, 2007, 2009, 2011, 2013, 2014, Off Broadway 2007, West End 2005, 2007, 2012).

The Pleasance celebrates 33 Years on the Edinburgh Festival Fringe and commissions a brand new type of mobile theatre for Venue 33.

Many of the entertainment industries brightest talents have cut their teeth in Edinburgh in August at the Pleasance. This year an innovative new mobile venue joins the bright ideas presented on the world’s stage this summer.

 

 

Tickets for 25 Pleasance shows now on sale including:

Alasdair Beckett-King, Best of Edinburgh Showcase Show, Brennan Reece, Colin Cloud, The Cambridge Footlights International Tour 2017, Chris Turner, Ed Night, Gein’s Family Giftshop, John Hastings, Josh Pugh, Katy Brand, Lauren Pattison, News Revue 2017, TAPE FACE, The Noise Next Door, Rachel Parris, Sara Schaefer, Showstopper! The Improvised Musical, Simon Amstell, The Gruaffalo’s Child, The Showstoppers’ Kids Show, The Midnight Beast, The Nature of Forgetting, The Tartan Ribbon Comedy Benefit, and TUTU: Dance In All Its Glory.

 

This festival in celebration of 33 years at Venue 33 The Pleasance Theatre Trust has commissioned a brand new type of mobile venue. From an initial innovative concept created by Triple E the final pop-up 120 seat-capacity ‘Project 33’ is a design collaboration between Triple E and The Pleasance. The Venue will launch at the ABTT (Association of British Theatre Technicians) Theatre Show in June before going on to host eight shows a day at the Edinburgh Festival Fringe as the all new Pleasance Beside. Following the festival, the structure will move to the Pleasance in London where it will form a new rehearsal and performance space.

A first major UK application for Triple E ModTruss™, the award-winning Meccano-style construction system, Project 33 will provide a taller, more theatrical and more comfortable alternative for the courtyard-based Pleasance Beside.

In contrast to the prefab cabins which preceded it, limited to 8ft to fit through the archway access, Project 33 will arrive flat packed and pop-up to provide a 14ft internal height which will greatly enhance the lighting, production and performances in the space.

Tickets go on sale this week for the new venue, Pleasance Beside alongside 25 others across the Pleasance’s 23 spaces. Those lining up to make the most of the new facilities and possibilities in Pleasance Beside include Brennan Reece.

A host of other great acts are also now on sale including Alasdair Beckett-King, Best of Edinburgh Showcase Show, Brennan Reece, Colin Cloud, The Cambridge Footlights International Tour 2017, Chris Turner, Ed Night, Gein’s Family Giftshop, John Hastings, Josh Pugh, Katy Brand, Lauren Pattison, News Revue 2017, TAPE FACE, The Noise Next Door, Rachel Parris, Sara Schaefer, Showstopper! The Improvised Musical, Simon Amstell, The Gruaffalo’s Child, The Showstoppers’ Kids Show, The Midnight Beast, The Nature of Forgetting, The Tartan Ribbon Comedy Benefit, and TUTU: Dance In All Its Glory.

Anthony Alderson, Director of Pleasance Theatre Trust, said: “For 33 years venue 33, The Pleasance, has crammed the most fun we could find into the maximum number of spaces around the Pleasance Courtyard and more recently beyond. This year we’ve taken a plunge and invested in a brand new, state of the art modular theatre designed specifically for the Courtyard venue and which we think provides really exciting opportunities for the work of the Pleasance Theatre Trust both in Edinburgh in August and in other places throughout the year. This summer 8 shows each and every day will have a bigger and better space than we could previously offer them, and audiences will have a chance to experience not only the bright minds on stage but the bright minds that conjured up this modular theatre at Triple E. Come and check it out!’

David Edelstein, Managing Director at Triple E, comments: “The history of The Pleasance is all about making the most out of found spaces and exploiting available sites for performance with the tightest of budgets. The Pleasance has never commissioned a bespoke venue before, but Director Anthony Alderson was immediately enthusiastic when I explained our ModTruss™ theatre solution, Project 33, which we will build and hand over at the ABTT Theatre Show.”

20^TH ANNIVERSARY CELEBRATION OF LORD OF THE DANCE

 

NEXT WEEK AT LEEDS GRAND THEATRE

 

Fresh from hugely successful runs in the West End, Broadway, Europe and the Southern Hemisphere,Michael Flatley’s Lord of the Dance: Dangerous Games continues to thrill audiences around the globe with its mix of dance and music that fuses the traditional with the contemporary in a classic tale.  It hot foots into Leeds Grand Theatre next week for one week only.

Celebrating 20 years since he debuted Lord of the Dance, the tour is produced, choreographed and directed by Michael Flatley and will star his protégés James Keegan, Morgan Comer and Matthew Smith. The show is produced, choreographed and directed by Michael Flatley. 

“I’m blown away by the remarkable talent and abilities of the great cast we’ve gathered,” says Flatley. “And I’m delighted to return to the UK where we started out 20 years ago” says Flatley.

With all the precision and thrills of the original, Lord of the Dance: Dangerous Games features new staging, cutting edge technology, new costumes and choreography, world champion acrobats and 40 of the world’s most outstanding young performers all directed by Michael Flatley. 

 

With new music by composer Gerard Fahy, this latest iteration combines the best of tradition with all the excitement of new music and dance.

 

Lord of the Dance: Dangerous Games is at Leeds Grand Theatre

from Tuesday 28^th March to Sunday 2^nd April

 

Tickets are priced at £39, £44 and £47.50

 

Book online at leedsgrandtheatre.com or call Box Office on 0844 848 2700

 

Idle Women of the Wartime Waterways

Saturday 15th April – Saturday 5th August 2017

Press Night: Monday 24th April, 7.30pm – The Cruising Association,

1 Northey Street, Limehouse Basin, London E14 8BT

2017 marks the 75th anniversary of The Idle Women – the nickname for the women who manned the working boats during WWII. Now, 21st century ‘Idle Women’ – former Worcestershire Poet Laureate Heather Wastie and writer/performer Kate Saffin – will be recreating their journey, from London to Birmingham and back to London via the Coventry coal fields.

This double bill tells the stories of the young women who took on the challenge to manage a pair of boats and 50 tons of cargo. Isobel’s War is a solo play written and performed by Kate Saffin based on the experiences of the wartime trainees. Isobel doesn’t think that rolling bandages and serving tea in the leafy suburbs of Oxford counts as proper war work, then she spots an advertisement and encounters a world she didn’t know existed. Idle Women and Judies is written and performed by Heather Wastie – it started as an audio piece (commissioned by the Canal & River Trust) based on the wartime memories of three women. Wastie has now added a collection of short poems and songs celebrating the work and adventures of the women.

By the beginning of WWII, the inland waterways were in decline. However, the war brought a brief renaissance as boats were a more economical means of moving war materials and supplies. But, whilst there were plenty of boats, there weren’t enough good crews. The Women’s Training Scheme taught young women the basics of boating over two three-week round trips (London-Birmingham-Coventry-London). These women then did their best to replace the men who had been called up. On completion of their training they received their national service badge imprinted with the letters IW – Inland Waterways. After the war they were nicknamed the Idle Women and they have been known as such ever since.

Kate Saffin comments, The stories, or at least the existence, of the trainees are known to many boaters and waterway enthusiasts but few beyond the towpath know they even existed never mind what they did. We are recreating this journey to celebrate their achievements, recognise their contribution to the war effort and explore their relationships with the indigenous boaters. We think it’s important to make this journey with these local stories so that we can share the history that is on the audience’s doorstep – or at least the nearest bit of towpath or the pub.

Accompanied by an historic narrowboat ‘Tench’ crewed entirely by women, Wastie and Saffin will tour our canals this summer, stopping to perform this inspiring double bill at waterside pubs, village halls, gardens, an historic pumphouse and even a community wood.

Supported using public funding by the National Lottery through Arts Council England.

Leeds Grand Theatre.  21 – 25 March 2017

Rarely do you see a show so fabulous that you have no idea where to start with your review, but the opening night of La Cage Aux Folles, in Leeds Grand Theatre last night, was one of those rare treats.

Bill Kenwright’s inspired revival of Jerry Herman and Harvey Fierstein’s musical, starring Adrian Zmed as Georges and John Partridge his lover Albin is completely over the top opulence and glamour and it’s glorious.

Set in St. Tropez on the French Riviera at a small club run by Georges who invites his audiences to “Open their eyes” and witness the notorious Les Cagelles. This is no ordinary kickline and La Cage aux Folles is no ordinary nightclub. The Cagelles are beautiful  men dressed as beautiful women.

The star attraction at La Cage is Abin’s alter-ego Zsa Zsa.  Albin and Georges have been in a relationship for many years and have raised Georges’ son Jean-Michel (Dougie Carter) from birth. The result of a one night stand with Chorus Girl Sybil. Jean-Michel is engaged to Anne Dindon (Alexandra Robinson) whose father M. Dindon (Paul F. Monaghan) is the head of a political party that wants to close down all gay nightclubs. When Anne’s parents want to meet Jean Michel’s parents before giving the couple permission to wed, things get chaotic.  Jean- Michel wants his mother Sybil to be there even though he was raised by Albin. He feels Albin’s flamboyant style and personality will not bode well with Anne’s parents. Thus begins the charade of making Albin more masculine in the person of Uncle Al, making the house over the club more “presentable” and even cleaning up the over the top maid Francis’ ( Jon de Ville who has the longest legs ever) act. With Mde Jacqueline (showbiz legend Marti Webb) saving the day. This set up and what happens after is one of the many reasons this show succeeds.

The chief glory of this show, however, is Partridge’s rhinestoned Albin. Strutting his stuff in bespangled frocks and marabou feathers, doing passing impressions of Piaf and Dietrich. He conveys the genuine shock discovering he is to be excluded from the impending marriage. He takes on the role of drag queen extraordinaire – interacting with the audience in an almost a pantomime way, shooting withering glances and put downs at unsuspecting audience members and ad-libbing beautifully for added delight.  But the brilliance of Partridge’s performance is in the heartbreaking rendition of I am What I am.  The pain and hurt is captured beautifully in one emotionally raw song and it totally deserved the standing ovation at the end of the first act.

Adrain Zmed as George dominates the stage and furnishes his role with at least some sense of fun.  Zmed’s acting is quite wonderful throughout and his “Look Over There” in Act 2 is another favorite song in the show

At its heart, La Cage aux Folles,  is a fairy tale, a sweet, corny story that asks us to take people (the good-hearted ones, anyway) at their own valuation.  Try to see it their way, the show suggests; squint hard, and life will appear, for a second, beautiful. The old-fashioned, feel-good musical (which it most definitely is) has always demanded such leaps of faith from its audience. Martin Connors direction coaxes a parallel between the willful make-believe happening onstage and our willingness to subscribe to it. The show’s very plot, we come to realize, is the triumph of musical-theater logic over reality.

With a stunning set and wonderful costumes by Gary McCann, marvellous choreography by Bill Deamer and Kylie Anne Cruikshanks, this show is a divine campfest – for there can never be too much glitter, feathers and sparkle.

In Leeds until Saturday 25 March and on tour around the UK – this is a show not to be missed – and I for one can not wait to see this show again and again



 

 

Dominion Theatre booking until 30 September.  Reviewed by Claire Roderick

The Gershwins’ gorgeous music has finally found its perfect accompaniment in this show. The choreography, design and performances work together to weave an intricate and visually stunning musical.

Inspired by Vincente Minnelli’s film, director and choreographer Christopher Wheeldon has dug deeper into the dark aftermath of the German occupation of Paris, and Craig Lucas’s book makes the characters much more 3 dimensional and their motivation more authentic.

Ex GI Jerry Mulligan, an aspiring artist, decides to stay in Paris rather than return home and meets fellow American Adam Hochberg, struggling to complete his concerto, and Henri, from a wealthy and respected French family, who dreams of becoming a jazz singer in the States. The men all fall in love with the same woman, Lise, who must choose between true love and obligation.

The storyline is sweet and simple, but the undertones of lingering suspicion and guilt in post-war Paris bubble up in every conversation, providing extra bite. The opening sequence sees celebrations, food shortages, revenge against collaborators, and Jerry stalking Lise through the streets of Paris – which should be creepy, but is absolutely fine, because he dances like a dream.

All memories of Gene Kelly are dispelled when Robert Fairchild takes the stage – strong, lithe, and with a twinkle in his eyes as well as his toes, Fairchild’s dynamic performance is stunning. On behalf of all the middle-aged women in the audience, I would like to thank him for simply existing. His partnership with Leanne Cope as Lise is exquisite. Their first clandestine meeting on a bench on the bank of the Seine features the most artistic manspreading you’ll ever encounter. Each of their dances are hypnotically beautiful and take your breath away. The smiles on their faces as they leave the stage after they finally, passionately, kiss are full of mischief and delight, bringing audible sighs from the audience.

Wheeldon’s choreography matches Gershwin’s music with its lyrical sweeping themes, and the climatic first night ballet performance is truly a celebration of hope and love. The design, with wonderful projections by 59 Productions Ltd and a lush colour palette in Natasha Katz’s lighting, combines with the dance to create the illusion that we are watching a work of art come to life. This is full sensory overload, and it is paradise, truly celebrating the city of light.

With classics like ‘S Wonderful, But Not For Me and They Can’t Take That Away From Me, the cast and orchestra must be having the time of their lives. On the final note of the brilliantly staged I Got Rhythm, my friend turned to tell me that this one number alone was worth the ticket price.

David Seadon-Young as Adam and Haydn Oakley as Henri are wonderful foils for Fairchild, and the trio’s lovelorn numbers about Lise are staged and performed beautifully. My only gripe is that Adam and Henri’s duet I’ll Build A Stairway To Paradise doesn’t go full Fosse enough. Don’t get me wrong, it’s amazing – but not quite OTT enough for me. Jane Asher and Zoe Raynor also give fine performances as the other women in the trio’s lives dishing out one-liners with class.

An American In Paris is composed of layer upon layer of gorgeousness, breathtakingly glamourous and beautiful, charming and nostalgic. Sheer perfection. If you only see one show this year – make it this.

REVIEW: THE FULL MONTY (Sunderland Empire) ★★★★★

March 21, 2017 

For: West End Wilma 

https://www.westendwilma.com/review-the-full-monty-sunderland/

The Full Monty arrives in Sunderland this week, rude crude and ridiculously funny, but you can leave your hat on!

In a packed to the rafters theatre, on springlike Monday evening, there was an air of expectation in the predominantly female audience. The oestrogen overloaded ladies weren’t all young either, there was a large number of women who wouldn’t see 60 again and a few who’d not see 70 either!

The 1997 film The Full Monty, about six Sheffield steelworkers who decide to try and make a bit of cash by putting on a strip show and became something of a sensation. Oscar-winning writer Simon Beaufoy has adapted his hit film into a stage show, more a play with music, dancing and, of course, stripping. It is poignant at times, touches on some serious issues and is absolutely hilarious most of the time.

Set in the late 1980s, it tells the story of a group of skilled men laid off from a Sheffield steel mill who aim to raise some much needed cash by mounting a one-off strip show, and is delivered with dry humour and an infectiously upbeat finish.

Two of the men, Gaz (Gary Lucy) and Dave (Kai Owen), are best friends. Gaz hasn’t quite grown up yet and fails at responsibility, even though he has a 12-year-old son, Nathan and an ex-wife, Mandy (Charlotte Powell), demanding he pay his child support or risk joint custody.

Those who were there for more than to admire a soap star body or two were also treated to some cracking acting performances, it would be very easy to write Gary Lucy off as just another soap actor but you’d be a fool to do so. Aside from a dodgy Sheffield accent (I was brought up near Sheffield and I’m a purist) he did pull off the part quite well. He gave depth to the part of an unemployed, part-time dad, desperate to see son Nathan, but too skint to pay the child maintenance.

With four boys sharing the part – James Burton, Monty Poole, Reiss Ward and Felix Yates – Nathan is a loveable character. It wasn’t a cutesy child part by any stretch of the imagination, with the character having to cope with the breakup of his parents marriage, his father’s unemployment and the ongoing court procedures, but he had faith and love for his father and it’s a touching father and son relationship.

There is superb work from the others too – from Kai Owens as the obese Dave whose self-image because of his weight, and lack of a job, is so bad it’s hurting his relationship with his loving wife, Jean (Fiona Skinner). And a delightfully oddball performance from Anthony Lewis as the gay and initially suicidal Lomper. The scene in the job club is a joy, where Lomper is happy to be there as he never saw anyone when he was a security guard but now he has friends, warmth, dominoes and tea.

Comical Horse (Louis Emerick) has the audience in stitches as he arrives for his dance audition supported by a walking stick and struggling with a dodgy hip! Pompous gnome-loving Gerald (played by Andrew Dunn) is desperate to hide his redundancy from wife Linda. Each has their own back stories, or in Chris Fountain’s portrayal of Guy’s case, an impressive front story in his well-stocked briefs.

Special mention Pauline Fleming, playing multiple characters, but her role of Bee who whips down her knickers, baring her backside to all as she pee’s up against the Club wall sets the tone for the entire play.

The Full Monty touches on some serious issues – unemployment, depression, poverty, body image and homosexuality to name a few – but as well as being touching it is also very funny. Beaufoy’s play has warmth of characterisation and camaraderie that the men find in each other, and keeps lot of jokes from the original film. It has the added pleasure of a cast who make it enjoyably fresh, but there’s not an Adonis amongst them.

Robert Jones’ set is huge and magnificent, working well as a disused steelworks, job club, Conservative club and the stage where the action finally takes place and the Ian West’s choreography is also fabulous. The soundtrack that includes songs by Donna Summer, Hot Chocolate and Tom Jones is familiar and you know what to expect.

And do they go the Full Monty? Only a trip to Sunderland Empire before Saturday 25 March will answer that question!

Gordon Craig Theatre, Stevenage is exciting to announce that Rapunzel a brand new professional musical is returning back in July 2017!

Rapunzel – is a brand new professional musical, with Book, Music & Lyrics written by Dennis, Lomax & Williams – this production is practically sold out with over two months to go before it opens!

Based on the Brothers Grimm classic fairy tale and featuring brand new toe-tapping songs this UK Premier is set to return to The Gordon Craig Theatre stage in July for another seven shows before heading out on a UK Tour.

This is the second musical for Dennis, Lomax & Williams after creating last year’s successful adaptation of Alice in Wonderland.

*

“Rapunzel, Rapunzel let down your hair…”

Come and let your hair down at the Gordon Craig Theatre this Easter with a host of lively characters in our brand new musical, Rapunzel.

Sophia is desperate for a baby of her own. Her husband Karl cannot bear to see her upset any longer and realising their lonely neighbour is their last chance he begs for Gothel’s help. Gothel offers Karl a magic herb from her garden, but the price is high! Sophia and Karl will get the baby they long for but on Rapunzel’s sixteenth birthday she must be returned to Gothel.

Years later, trapped in a Tower, Rapunzel has grown into a beautiful and clever young woman but will she ever get out of the Tower and return home? Longing for adventure and freedom and with only Viktor, the crow, for company how will Rapunzel ever escape? Can Prince Freddie save the day or will Rapunzel never make it home?

Thursday 13th April to Monday 17th April

Standard Tickets: £20 | Family Ticket: £65.00

Thursday 27th July to Sunday 30th July

Early bird tickets (until 13th April)

Standard Tickets: £18 | Family Ticket: £57.00

Tickets after the 13th April

Standard Tickets: £20 | Family Ticket: £65.00 Box office: 01438 363 200 / www.gordon-craig.co.uk

The Bread & Roses Theatre announces its Spring Season 2017

 April – June 2017 – www.BreadandRosesTheatre.co.uk

68 Clapham Manor Street, SW4 6DZ Clapham, London

 

The Bread & Roses Theatre is ready for an exciting springtime!

Following 5 star reviewed productions of ‘Miss Julie’ in 2015 and ‘Low Level Panic’ in 2016, this year The Bread & Roses Theatre is putting on a revival of dirty butterfly (25^th April to 13^th May, Tue-Sat), the debut play of Olivier-Award-winning playwright and BAFTA-Award-winning screenwriter debbie tucker green, directed by Artistic Director Tessa Hart. Painting a harrowing image of domestic violence in an intimate, yet so distant environment, dirty butterfly confronts the audience with themes of voyeurism, power and guilt through lives that interlock but never connect.

Stones Theatre Co. also return this season with a revival of Philip Ridley’s recent hit play Radiant Vermin (14^th to 17^th June). A darkly humourous play that asks the question: just how far you would go to get on the property ladder? Another returning company are SISATA who present their touring success show Shakespeare’s Othello adapted & directed by Charmaine K Parkin (22^nd to 24^th June), in a fast-paced telling of jealousy, love and ambition, four actors play multiple roles in this masterful debate on the human condition.

The season also features a line-up of exciting new writing and opportunities to discover brand new work:

·         Yes! Because… by Flloyd Kennedy [with William Shakespeare] (4^th to 8^th April), a solo show of cabaret, clown and classical theatre all rolled into one, which has toured the UK and Australia;

·         Teaching a dillo to cross the road by David Moberg (11^th to 15^th April), which throws us into a world of volatile uncertainty, sex, violence, alcohol, death and unspoken tragedy;

·         Cream Tea and Incest by Benjamin Alborough (20^th to 22^nd April), a knockabout farce that blends the traditions of comedy theatre with the anarchy of live comedy in a unique, energetic style;

·         Metamorphoses (15^th to 20^th May, except 17^th), London’s first ever festival of visual & physical theatre inspired by Ovid’s ‘Metamorphoses’;

·         The Anomaly written & directed by Martin T Hart (23^rd to 27^th May), an astounding Telepathy Magic Show with ‘WOW-Factor’;

·         A Curse of Saints written & directed by Polis Loizou (30^th May to 3^rd June), a chilling tale set in 19^th century Cyprus, where a shepherd – who since the arrival of the British, come to colonise his motherland, has been having visions of crooked saints and nightmares of the evil eye – reveals his own suspicions on a boy’s death.

·         The Investigation by Peter Weiss (6^th to 10^th June), a dramatic re-construction of the Frankfurt war crime trials which dealt with the atrocities committed at the concentration camps of WWII such as Auschwitz.

Short running events include in-house cabaret and burlesque night The Roses Cabaret (20^th April), improvisational theatre show Clowns Are Not Funny (7^th May), Eddie Farmer’s The Magic Show (14^th May), in-house new writing scratch night The Platform (11^th to 13^th June), and two-handed, multi-rolling farcical extravaganza Going Awol (20^th & 21^st June), set in 1966, a tale of 2 women who accidentally on purpose murder their boss and go on a wild and wonderful adventure around Europe disposing of his limbs.

Opportunities for theatre-makers this season include our usual Playwrights Circle, (22^nd May) and Networking Event (5^th June), as well as a Clown Actor Workshop with Flloyd Kennedy (5^th April).

For details on all listings and more head to www.breadandrosestheatre.co.uk. Phone: 020 8050 3025