Author: FairyPoweredProductions

Cast change in York Theatre Royal premiere production of Murder, Margaret and Me

17 Feb – 4 March, Press night Wed 22 Feb, 7.30pm

York-based actress Andrina Carroll joins Nichola McAuliffe and Susie Blake in the premiere production of comedy thriller Murder, Margaret and Me by Philip Meeks at York Theatre Royal from 17 February to 4 March.

She will play The Spinster, replacing Indira Joshi, who has left the production for personal reasons. The character narrates and leads the story, while bearing a certain resemblance to the legendary sleuth Miss Marple.

Andrina’s previous appearances at York Theatre Royal include Mother in The Railway Children, Forty Years On, Peter Pan, The Crucible, Brassed Off, Educating Rita and A Midsummer Night’s Dream.

Director Damian Cruden said: “It’s sad to lose Indira, she is very talented and had already brought much to the process. Consequently it is a joy to welcome Andrina to the company. I have worked with her on many projects and know she will be great in this role.”

Andrina said: “I’m thrilled to be back at the Theatre Royal working with Damian and a great company in a fantastic part at a theatre where I’ve done a lot of exciting work in the past.”

Murder, Margaret and Me explores the relationship between Queen of Crime Agatha Christie and the acting legend known as ‘the funniest woman alive’ Margaret Rutherford. In the early 1960s these two strong national treasures were the creative force behind one of British cinema’s most successful franchises but the Miss Marple films were almost never made. Christie didn’t want Rutherford to bring her fabled spinster to life and Rutherford was mortified at the prospect of sullying her reputation with something as sordid as murder.

The pair form an unlikely friendship filled with afternoon tea and gossip. Meanwhile Agatha turns detective herself as she becomes determined to unearth Rutherford’s tragic and shocking secret.

Murder, Margaret and Me is written by Philip Meeks and will be directed by York Theatre Royal Artistic Director Damian Cruden and designed by Dawn Allsopp.

Nichola McAuliffe (Agatha Christie) has won a number of awards, including the Laurence Olivier Award for Outstanding Performance by an Actress in a Musical for Kiss Me Kate. No stranger to York, she has also appeared in Blithe Spirit at York Theatre Royal working with director Damian Cruden. Nichola recently appeared on television in ITV’s lavish series Victoria as the Duchess of Cumberland, but many will remember her as Sheila from seven series of Granada’s comedy Surgical Spirit.

Susie Blake (Margaret Rutherford) has taken stage roles ranging from Madam Morrible in Wicked in London’s West End to various Alan Ayckbourn productions at Scarborough’s Stephen Joseph Theatre. She is well-known for one of her early television roles as the sarcastic continuity announcer on Victoria Wood As Seen On TV in the 1980s, and also appeared recently in Coronation Street from 2004 – 2006 as Bev, a role she reprised in 2015 following the death of Anne Kirkbride who played Deirdre Barlow.

Andrina Carroll (The Spinster) has worked extensively in theatre, film and television. As well as numerous roles at York Theatre Royal, theatre credits include One Last Waltz (Black Coffee Theatre), Beautiful Thing (Pilot Theatre), A Game of Golf, One Man Protest, Affairs in a Tent, Enjoy, The Nutcracker and When We Are Married (West Yorkshire Playhouse), Romeo and Juliet, Hobson’s Choice, The Last of the Red Hot Lovers, Accrington Pals, The Bright and Bold Design and Twelfth Night (New Victoria Theatre), Oliver Twist, Twelfth Night and September in the Rain (Hull Truck). Television and film credits include The Knife That Killed Me, Between Two Women and reprising her role as Mother for a feature film taping of the Theatre Royal’s The Railway Children – Stage to Screen.

This production forms part of a year-long programme of work put together by an all-female panel which aims to redress the imbalance in women’s roles in both theatrical work and the industry as a whole. These productions, events and activities will run alongside York Theatre Royal’s spring and autumn 2017 seasons.

Tickets for Murder, Margaret and Me are on sale now priced £30 – £12 (£1.50 transaction fee per booking) from York Theatre Royal box office in person, by phone on 01904 623568 and securely online at yorktheatreroyal.co.uk.

TRH Productions, Scott Landis and Tulchin Bartner Productions present the Royal Shakespeare Company Production of

QUEEN ANNE

Due to an illness within the producer’s family and overwhelming unexpected circumstances, SLEEPLESS The Musical has been postponed. The producer hopes to have further news of the future of the production next year.

The world premiere of SLEEPLESS the Musical based on the Tristar Pictures Inc. film Sleepless in Seattle, starring Danny Mac, Carley Stenson, Jennie Dale and Cory English, was due to open at Theatre Royal Plymouth from 1 to 15 April, followed by a week at The Lowry, Salford from 25 to 29 April, and finishing at Bord Gais Energy Theatre, Dublin from 2 to 13 May, prior to a West End run.

SLEEPLESS has a book by Michael Burdett, music by Robert Scott and lyrics by Brendan Cull. The production was due to be directed by Morgan Young (Elf, White Christmas, Big), with set design by Morgan Large, costume design by Sue Simmerling, lighting by Tim Lutkin, video design by Ian William Galloway, sound design by Avgoustos Psillas and Terry Jardine for Autograph, orchestrations and musical supervision by Larry Blank, wig and hair design by Richard Mawbey and casting by Sarah Bird CDG.

The world premiere of SLEEPLESS was to be presented by Michael Rose and David Shor, in association with Marc Toberoff and the Bord Gais Energy Theatre, Dublin; a Theatre Royal Plymouth production.

Production images released for Babe, The Sheep-Pig At The Lowry Tue 11 – Sat 15 April

Adapted from Dick King-Smith’s much-loved children’s novel which inspired the Oscar-winning 1995 film, Babe, The Sheep-Pig will be brought to life on stage in an enchanting new production. Featuring stunning puppetry, an original score and an utterly charming ‘baa-ber sheep’ quartet, Babe and the residents of Hogget’s Farm will visit The Lowry from Tue 11 to Sat 15 April as part of a major UK Tour. Meet the lovable Babe in a heart-warming tale of friendship, adventure and bravery. When Babe arrives at Hogget’s Farm he is taken in by the trusty sheep-dog Fly, and soon discovers a talent for herding. With the help of his adopted Mum, the polite piglet soon wins over the most suspicious of sheep. But can a small pig make it in a dog’s world, and when his farmyard friends are in trouble can Babe save the day? Dick King-Smith’s The Sheep-Pig was first published in 1983, and has since been translated into fifteen languages, as well as winning King-Smith the Guardian Children’s Fiction Award. In 1995 it was adapted for the big screen as the film Babe, which received huge critical and box office success. It was nominated for seven Academy Awards and won one for Best Visual Effects, as well as winning the Golden Globe for Best Motion Picture: Musical or Comedy. Babe, The Sheep-Pig is adapted for the stage by Olivier Award-winning playwright David Wood OBE, who is best known for his adaptations of classic family titles including Goodnight Mister Tom, James and the Giant Peach, The BFG and The Tiger Who Came to Tea. David also wrote the book and lyrics for new musical The Go-Between, currently playing in the West End. Babe, The Sheep-Pig is directed by Michael Fentiman, whose productions include The Taming of the Shrew and Titus Andronicus (RSC), and The Lion, The Witch and The Wardrobe (Kensington Gardens) which he co-directed with Rupert Goold. The residents of Hogget’s Farm will be brought to life by beautiful hand-crafted puppets, created by award-winning puppet designer Max Humphries (Chief Puppet Designer, Cirque de Soleil) and Dik Downey, with the ensemble cast delivering masterful puppetry by puppetry directorMatthew Forbes (Associate Director in Puppetry & Movement, War Horse). The cast of actor-musicians features Emma Barclay (You Me Bum Bum Train) as Mrs Hogget, Olivier Award-nominated Nicola Blackman (Little Shop of Horrors and The Lion King, West End) as Fly, Oliver Grant (War Horse, National Theatre) as Babe/Sheep and Ben Ingles (Romeo and Juliet, RSC) as Farmer Hogget. The cast also features Claire Greenway(Sister Act, London Palladium), Jacqui Sanchez (Shrek the Musical and Avenue Q, West End), Lucy Thomas (Bugsy Malone, Lyric Hammersmith) and Sam Wilmott (Wicked and The Lord of the Rings, West End). Babe, The Sheep-Pig is presented by Tom O’ Connell Productions (Million Dollar Quartet, Hairspray, UK Tours) and Polka Theatre. It is directed by Michael Fentiman with puppetry direction by Matthew Forbes, costume and scenic design by Madeleine Girling, puppet design by Max Humphries and Dik Downey, lighting design by Jack Knowles, sound design by George Dennis and original music by Barnaby Rose. Casting is by David Grindrod Associates. Suitable for all ages. Listings Info Babe, The Sheep-Pig The Lowry Tue 11 – Sat 15 April 2017 2pm & 7pm Tickets: £20.50 (Including booking fees), Family Ticket £66 Box office: 0843 208 6000 Website

GLENDA JACKSON WINS CRITICS CIRCLE AWARD

FOR HER FIRST STAGE ROLE IN 25 YEARS

HARRY POTTER WINS THREE AWARDS

AHEAD OF BROADWAY TRANSFER

BILLIE PIPER AND STEPHEN DILLANE WIN BEST ACTOR AWARDS

THE CRITICS’ CIRCLE THEATRE AWARDS 2016

* TIM MINCHIN’S GROUNDHOG DAY WINS BEST MUSICAL AWARD

* TWO WINS APIECE FOR BOTH OLD VIC AND YOUNG VIC

* JOHN TIFFANY WINS BEST DIRECTOR, TEN YEARS AFTER WINNING FOR BLACK WATCH IN 2006

The Critics’ Circle Theatre Awards 2016 were hosted today, Tuesday 31st January 2017, by the Critics’ Circle Drama Section Chairman Mark Shenton, at the Prince of Wales Theatre, London.

The Awards were presented in association with Nyman Libson Paul Chartered Accountants, leading entertainment industry specialists, and supported by Delfont Mackintosh Theatres.

As ever, the ceremony was an informal gathering of award recipients, the drama critics, theatre practitioners and the media, convivially coming together to celebrate the critics’ personal choice of the best theatre from throughout the UK during the last calendar year.

Comedian Arthur Smith introduced proceedings with his own inimitable style, as has become a well-loved tradition. And, for the first time, the exclusive invited audience also enjoyed a sneak-peek performance of new Gary Barlow and Tim Firth musical The Girls, which is currently in previews at the West End’s Phoenix Theatre, where it officially opens on 21st February and will be eligible for next year’s awards. Today, star Joanna Riding performed “Scarborough”, accompanied by Tim Firth.

For a list of previous years’ winners, visit criticscircletheatreawards.com.

Twitter: @CCTAwards #CriticsCircleAwards

Facebook: CCTAwards

WINNERS

Best New Play: The Flick by Annie Baker

The National Theatre, London

award presented to Jaygann Ayeh by Georgina Brown, The Mail on Sunday

The Peter Hepple Award for Best Musical [new or revival]: Groundhog Day

Old Vic, London

award presented to Kate Varah and Andre Ptaszynski by Dominic Cavendish, Daily Telegraph

Best Actor: Stephen Dillane in Faith Healer

Donmar Warehouse, London

award presented to Stephen Dillane by John Nathan, The Jewish Chronicle

Best Actress: Billie Piper in Yerma

Young Vic, London

award presented to Billie Piper by Henry Hitchings, Evening Standard

The Trewin Award for Best Shakespearean Performance: Glenda Jackson in King Lear

Old Vic, London

award presented to Glenda Jackson by Susannah Clapp, The Observer

Best Director: John Tiffany for Harry Potter & The Cursed Child

Palace Theatre, London

award presented to John Tiffany by Sarah Hemming, The Financial Times

Best Designer: Christine Jones for Harry Potter & The Cursed Child

Palace Theatre, London

award presented to John Tiffany by Michael Billington, The Guardian

Most Promising Playwright: Charlene James for Cuttin’ It

Young Vic, Royal Court & The Yard Theatres, London, Birmingham Rep & Sheffield Crucible

award presented to Charlene James by Lyn Gardner, The Guardian

The Jack Tinker Award for Most Promising Newcomer [other than a playwright]: Anthony Boyle in Harry Potter & The Cursed Child

Palace Theatre, London

award presented to Anthony Boyle by Dominic Maxwell, The Times

Since the Awards’ inception in 1989 the theatre critics, consisting entirely of respected and influential working journalists, have prided themselves on offering something unique on the packed theatre awards circuit: each member of the Drama Section independently casts their vote based on personal choice, free of any discussion or industry influence, ensuring a highly democratic voting process.

REVIEW: WONDERLAND (Sunderland Empire) ★★★

January 31, 2017 

For: West End Wilma 

https://www.westendwilma.com/review-wonderland-sunderland-empire/

It’s not everyday you get to see a brand new musical but Wonderland has arrived in Sunderland in only the second week of its tour and it’s really rather good.

On her 40th birthday Alice (Kerry Ellis) has received a letter from her ex husband to say he’s got remarried. Her car has been stolen – making her late for work – resulting in her getting fired from her job in a Travel Agency. She loses her keys and forgets to buy food. Her ex husband’s reach still lingers making her think she is a terrible person and she wants to escape reality.   Teenage daughter Ellie (Naomi Morris) feels she is the responsible one looking after her mum rather than the other way round and painfully shy next door neighbour Jack (Stephen Webb) has taken 3 years to pluck up the courage to talk to Alice.

Instead of a rabbit hole, the White Rabbit (Dave Willetts) takes the lift that has apparently never worked. Ellie chases the White Rabbit down to Wonderland so Alice chases Ellie and Jack chases Alice.

Once in Wonderland the characters move the plot along explaining that they all wanted to leave the real world behind and once the Queen of Hearts ( a woefully underused Wendi Peters) chops off your head you can stay in Wonderland for ever.

What follows is a romp around Wonderland with advice from the rather smooth Caterpillar (Kayi Ushe), the trickster Cheshire Cat (Dominic Owen) and a wonderfully bonkers Mad Hatter (Natalie Mcqueen). With a bit of female empowerment they learn to stand up to bullies and find their destinies and all learn they can live happily ever after.

Neil Eckersley’s production of Wonderland is big, bold and bright. Adapted by Robert Hudson for the show’s UK debut following a short Broadway run in 2011. Inspired by Lewis Carroll’s Alice stories the show is co-written by Jack Murphy and Gregory Boyd, with original lyrics by composer Frank Wildhorn and lyricist Jack Murphy. Lottie Wakeham’s direction and Lucie Pankhurst’s choreography all help in this spectacle move along. But for me it’s Grace Smarts rather wonderful costumes that are the star of the show. A steampunk Mad Hatter, boy band Knights and a tartan bedecked Queen of Hearts who wears the most magnificent shoes.

WONDERLAND has a hesitancy about it because it’s new but once it finds its feet, I think it has the ability to be phenomenal.

Toby Boutall and Theatre N16 present:

The BBC has announced today that Lucie Jones is one of the six artists chosen to perform the songs competing for the UK’s entry into the Eurovision Song Contest. Lucie will perform the song on Eurovision: You Decide, a show to be held at the Eventim Hammersmith Apollo on 27 January 2017 and broadcast live on BBC Two, presented by Mel Giedroyc. The winner, who will be revealed on the night after a combined expert jury and live public vote, will then represent the UK at Eurovision, with the Grand Final on Saturday 13 May in Kyiv, Ukraine.

The ballad that Lucie is singing, Never Give Up On You, is the work of composers and lyricists The Treatment, Emmelie de Forest and Lawrie Martin, and can be heard now at the following link: http://www.bbc.co.uk/blogs/eurovision/entries/9ced8ad0-73ed-4765-b5e4-d26a82f25670

Lucie is currently starring as Maureen Johnson in the new 20th Anniversary production of Jonathan Larson’s ground-breaking Pulitzer Prize- and Tony Award-winning musical RENT. The show is currently playing a sold-out season at St. James Theatre, London until 28 January and will then embark on a major UK tour until 27 May 2017. RENT has been nominated for Best Regional Production at the 17th Annual What’s on Stage Awards, taking place in London next month.

Lucie said “I’m absolutely thrilled to be invited to take part in Eurovision: You Decide. Never Give Up On You is an incredibly powerful song, especially when sung live! I can’t wait to perform it live on BBC Two on Friday night.”

Producer Robert Mackintosh said “On behalf of the producers of RENT, we are delighted that Lucie Jones has been selected to sing one of the six songs in the running to compete for UK’s entry in the Eurovision Song Contest. Lucie is one of the UK’s brightest young talents and a valued company member. We wish her every success for Eurovision: You Decide this Friday.”

Lucie was a finalist on The X Factor in 2009 and has most recently starred as Elle Woods in Legally Blonde (Curve, Leicester). Her other theatre credits include Molly Jenson on tour in Ghost the Musical, Victoria in American Psycho at The Almeida, Meatloaf in the International Tour of We Will Rock You and Cosette in Les Miserables at Queens Theatre, London’s West End and O2 Arena. Lucie also toured the UK in The X Factor Arena Tour.

The cast of RENT also includes Billy Cullum as Mark Cohen, Ross Hunter as Roger Davis, Ryan O’Gorman as Tom Collins, Javar La’trial Parker as Benjamin Coffin III, Layton Williams as Angel Schunard, Philippa Stefani as Mimi Marquez and Shanay Holmes as Joanne Jefferson, with Jenny O’Leary, Katie Bradley, Joshua Dever, Kevin Yates, Bobbie Little, Christina Modestou, Jordan Laviniere, Harrison Clark and Oliver Bingham.

Jonathan Larson’s musical, inspired by Puccini’s opera La Bohème, won four Tony Awards, six Drama Desk Awards and the Pulitzer Prize for Drama in 1996. Ben Brantley’s New York Times review was a love letter to the show, calling RENT an “exhilarating, landmark rock opera”. RENT ran on Broadway for 12 years, from 1996 to 2008. The show premiered in London’s West End in 1998 at the Shaftesbury Theatre, where it ran for 18 months. It was adapted into a film in 2005.

Larson’s world is inhabited by a group of bohemian artists who struggle to maintain their friendships and their non-conformist ideals in New York’s East Village. Facing their problems head on, they make personal self-discoveries and find what really matters most in life. The poignancy of the story was heightened when Jonathan Larson died of an aortic dissection on 25 January 1996, the night before the show’s first off-Broadway performance at New York Theatre Workshop.

The much-loved score features songs such as Seasons of Love, Take Me or Leave Me, What You Own, One Song Glory, La Vie Bohème, Without You, I’ll Cover You, Out Tonight and I Should Tell You.

The new production of RENT has Choreography by Lee Proud, Musical Direction by Phil Cornwell, Set Design by Olivier Award-winner Anna Fleischle, Costume Design by Loren Elstein, Lighting Design by Olivier and Tony Award-winner Rick Fisher, Sound Design by Olivier Award-winner Mike Walker, Video Design by Andrzej Goulding and Casting by Will Burton Casting.

RENT has Book, Music and Lyrics by Jonathan Larson, Musical Arrangements by Steve Skinner, Original Concept and Additional Lyrics by Billy Aronson, Music Supervision and Additional Arrangements by Tim Weil, and Dramaturg is Lynn Thomson. RENT was originally produced in New York by New York Theatre Workshop and on Broadway by Jeffrey Seller, Kevin McCollum, Alan S. Gordon and New York Theatre Workshop.

RENT is presented by arrangement with Music Theatre International (Europe) Ltd. For more information, visit www.RENTonstage.co.uk

Twitter: @RENTonstage

Instagram: Instagram.com/RENTonstage

Facebook: facebook.com/RENTonstage

LISTINGS INFORMATION

8 December 2016 to 28 January 2017

St. James Theatre

12 Palace Street

London SW1E 5JA

Box Office: 0844 264 2140 Website: www.stjamestheatre.co.uk

31 January to 4 February 2017

Devonshire Park Theatre

Compton St

Eastbourne BN21 4BW

Box Office: 01323 412 000 Website: www.eastbournetheatres.co.uk/venue/devonshire-park-theatre

6-11 February 2017

Churchill Theatre

High Street

Bromley

Kent BR1 1HA

Box Office: 020 3285 6000 Website: www.churchilltheatre.co.uk

14-18 February 2017

Festival Theatre

13 / 29 Nicolson Street

Edinburgh, EH8 9FT

Box Office: 0131 529 6000 Website: www.edtheatres.com

28 February – 4 March

Liverpool Empire Theatre

Lime St

Liverpool L1 1JE

Box Office: 0844 871 3017

Website: www.atgtickets.com/venues/liverpool-empire

7-11 March

New Victoria Theatre

The Ambassadors

Peacocks Centre

Woking

Surrey GU21 6GQ

Box Office: 0844 871 7645

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

28 March to 1 April 2017

Curve

Rutland Street

Leicester LE1 1SB

Box Office: 0116 242 3595 Website: www.curveonline.co.uk

3-8 April 2017

Wales Millennium Centre

Bute Pl

Cardiff Bay

Cardiff CF10 5AL

Box Office: 029 2063 6464 Website: www.wmc.org.uk

11-15 April 2017

Cheltenham Everyman Theatre

Regent Street

Cheltenham GL50 1HQ

Box Office: 01242 572573 Website: www.everymantheatre.org.uk

18-22 April 2017

York Theatre Royal

St. Leonard’s Place

York YO1 7HD

Box Office: 01483 440000 Website: www.yorktheatreroyal.co.uk

1-6 May 2017

Lighthouse

Poole’s Centre For The Arts

21 Kingland Road

Poole

Dorset BH15 1UG

Box Office: 01202 280000 Website: www.lighthousepoole.co.uk

9-13 May 2017

Belgrade Theatre

Belgrade Square,

Coventry CV1 1GS

Box Office: 024 7655 3055 Website: www.belgrade.co.uk

16-20 May 2017

Nottingham Playhouse

Wellington Circus

Nottingham, NG1 5AF

Box Office: 0115 941 9419 Website: www.nottinghamplayhouse.co.uk

23-27 May 2017

Assembly Hall Theatre

Crescent Road

Tunbridge Wells

Kent TN1 2LU

Box Office: 01892 530613 Website: www.assemblyhalltheatre.co.uk

Grand Opera House, York – 30 January to 4 February.  Reviewed by Marcus Richardson

Gaslight is Amazing, I can only start that way as I fell head over heels for it.

The play set in the 1930s starts out everything seeming normal between a married couple, and then we learn new things and witness new acts, drawing us into the pool of immersion and hidden truths. Everything about it oozed the different aspects of theatre I love; an impacting story, a twist and of course good acting.

I would first like to say a massive “thank you” to the cast for pulling off an amazing show and for making the first act seem like twenty minutes and me wanting more.

Kara Tointon who played the leading role of Bella Manningham, was just sheer perfection everything about the ways she portrayed the character, to the way that she interacted with each of the other characters and how subtle changes she made and different attitudes that were so believable, brought this character to life.

The other actor who stood out for me was Keith Allen who played Rough, that’s the character’s name, though he played it far from rough. The character was witty and very funny in situations but also making sure he didn’t ruin certain more serious moments. When he first appeared on stage as the character I was a bit unsure about it as it just seemed rather silly, but then I got a feel for the character and then I ended up loving him. His relationship on stage with Tointon was so personal and so true even if the characters had just met it just seemed right.

All the other characters and the two maid who did the most amazing job bringing that homely charm with a repeating ‘yes, sir’ after anyone spoke made for a light comedy effect. The staging was very nice with a very naturalistic and homely feel (with a few secrets), it dragged you into the story even more as if you were watching an episode of Downton Abbey but in less room. It gave a lot for the characters working with the stage interacting with little things such as candles of the fair place or to looking at books on the bookshelf, it gave the show life that in a way seems to be so close to ours, yet we are reminded that we are watching a show.

At points they can be facing away from the audience which I quite liked because, yes they do have to play to the audience it drew us in and it let us get emotionally involved a kept us suspended.

Overall this has been one of the best shows I’ve seen in a while and I would highly and I mean highly recommend that people should go and see it. I find it very hard to be so immersed into a play that it makes the first act seem like it finishes in a blink of an eye, so for that to happen to me I was impressed. It touches on issues that still has relevance today and gives the audience a form on connection that way. It will be on at the York Grand Opera House until the 4th of February so go and see it!

Arts Theatre 25 January – 18 March.  Reviewed by Claire Roderick

According to writers Richard Marsh and Katie Bonna, “Love stories are good, but the great ones are dirty”. Well, they’re right – Dirty Great Love Story is a fantastic, filthy and sweet show. Originally a much shorter poetry duet, this award-winning play boasts engaging and instantly recognisable characters, in situations that lots of the audience will have experienced shamefacedly.

From the moment Ayesha Antoine (Katie) and Felix Scott (Richard) walk onstage with an engaging turn off your phone shtick, they have the audience in the palms of their hands. Katie and Richard then tell their own versions of the story of how they met, and the two years that followed. From a drunken one night stand after hen and stag dos, through awkward encounters at friends’ barbecues, weddings and christenings, misunderstandings and lost chances are portrayed with cringeworthy honesty and charm.

Antoine is spiky and defensive as Katie at first, still reeling from the ending of her last relationship, but the crumbling of her defences is handled brilliantly, showing the loneliness beneath. Antoine morphs into posh and brashly honest best friend CC with a flick of her hair, creating a wonderful character straight out of AbFab. Scott is charming and loveable as hapless Richard – the moment he finally makes a big gesture is fantastic, and his completely unromantic proclamation of love is just beautiful, making you want to stand up and cheer. Scott’s portrayals of best mate Westie – straight from a Northern pub – and pretentious old Etonian love rival Matt are just hysterical.

The poetry is fast and furious, lyrical and heartfelt. The knowing way that the audience is left hanging waiting for the inevitable rhyming insult is handled perfectly by the actors, whose timing and chemistry is sublime. The difference between the sexes is emphasised by Katie’s long, evocative descriptions of a situation, followed by Richard’s matter of fact one word opinion, to huge comic effect.

The set, lighting and sound design is deceptively simple, with a board game like grid lighting up too represent night clubs, saunas and cars to great effect. The sound and lighting are so in tune with the gorgeous language of the play that you don’t take much notice, everything works together to create a joyous, heart-warmingly funny and real love story.

Dirty Great Love Story definitely lives up to its name – this is a date night treat that will have men and women aching with laughter. There’re not many love stories that can do that.