Author: FairyPoweredProductions

Theatre N16 12 – 30 June.  Reviewed by Claire Roderick

Howard Barker’s twisted take on Hamlet shifts the focus onto Gertrude and her sexual power. I must admit that Hamlet bores the socks off me, some great speeches, but too much tedious waffling in between. Although a bum numbing 2 hours long with no interval, Barker’s play grips from the first shocking scene and doesn’t let up until the lights finally dim on the body-strewn stage.

Opening with the murder of Gertrude’s husband by his brother Claudius, swiftly followed by sex on top of his dead body, Gertrude’s lust and sexual appetite carry her from one tragedy to another, as the body count rises. Hamlet watches his mother and becomes more and more disgusted with her and his uncle’s behaviour, while Claudius’s mother Isola arranges Gertrude’s marriage to the Duke of Mecklenberg to tear her away from Claudius.

Chris Hislop’s production doesn’t flinch from the objectification of women by Barker, instead it revels in it and throws it at the audience to deal with as they choose. Izabella Urbanowicz prowls around the stage like a cat on heat and shows Gertrude’s turmoil brilliantly. The script is full of references to her legs, her skirt, her arse… as if this is all she is. Isola (Liza Keast) whose desperation to release Claudius from Gertrude’s clutches is born of perhaps recognising a kindred spirit in Gertrude, is manipulative, chiding and hypocritical, while Ragusa (LJ Reeves) is bland until the climactic final scenes. This would offend if the male characters were written as heroes, but Barker doesn’t seem particularly fond of men either. It would be hard to find a more pathetic bunch. Hamlet is a whining petulant brat (although played as frustratingly likeable by Jamie Hutchins, and having the lion’s share of the funniest lines), Claudius (Alexander Hulme – fantastic chemistry with Urbanwicz) is like a little boy who’s only happy when he’s stolen the other boys’ toys, Albert (David Zachary) is a bullying little toad who gets his own way because he’s got the biggest army. The only reasonably decent character is Cascan (Stephen Oswald in a wonderfully understated performance), observing and commenting on the morality and ridiculousness of the characters, but hiding his own lust for Gertrude behind a pathetic mask of servile devotion.

So, no tears for any deaths in this play then.

Designer Felicity Reid’s catwalk stage, and the sexualised images and music before the play begins enhance the atmosphere of a weird fashion show. Indeed, being on the front row is the golden ticket, as further back you miss one death and don’t see the final drops of a couple of corpses. Apart from that, this staging is a great idea, as the sex and nudity are right in your face, and by slightly raising your gaze, you observe other audience member’s differing reactions, adding another layer to the drama and sometimes making you question your own. Barker’s writing is filthy, funny, challenging and sometimes uncomfortable, and the fantastic cast bring his words to life with passion and energy.

Well worth a look – even for Shakespeare purists.

Eastlake productions and Theatre N16 present:

LEEDS GRAND THEATRE ANNOUNCES CAST FOR

REHEARSAL FOR MURDER

GARY MAVERS, ALEX FERNS, SUSIE AMY, ANITA HARRIS, MARK WYNTER, LAUREN DRUMMOND AND BEN NEALON

From the pen of the legendary award-winning writing team Richard Levinson and William Link, the creators of the unsurpassable mystery series Murder She Wrote and the award-winning TV detective seriesColumbo comes this classic ‘whodunnit’ murder mystery.

TV favourites ALEX FERNS (Eastenders, Legend) and SUSIE AMY (Footballers’ Wives, Echo Beach) join a cast of much-loved Agatha Christie Theatre Company regulars including GARY MAVERS (Peak Practice, Emmerdale),  60’s pop legend MARK WYNTER (Cats, Dreamboats and Petticoats, The Phantom of the Opera) and BEN NEALON (Solider Solider). Entertainment icon ANITA HARRIS, Holby City’s LAUREN DRUMMOND, GWYNFOR JONES and GEORGIA NEVILLE complete the cast.

Following the decade-long success of The Agatha Christie Theatre Company, Bill Kenwright Ltd began an exciting new chapter in January 2016 with the launch of The Classic Thriller Theatre Company and its first production REHEARSAL FOR MURDER adapted for the stage by David Rogers.

Playwright Alex Dennison is left heartbroken when his fiancée and leading lady Monica Welles is found dead from an apparent suicide after the opening night of her stage debut. On the anniversary of that ill-fated night, Alex assembles the same cast and crew in the same theatre, for a reading of his new play. But as the reading progresses, the play’s similarity to actual events becomes increasingly uncomfortable for the participants, and it soon becomes clear that Alex believes Monica was murdered and his new play is a devious cat-and-mouse chase to uncover her killer.

Rehearsal for Murder is at Leeds Grand Theatre from Monday 4^th to Saturday 9^th July

Tickets are on sale now priced from £22 to £36

Book online at leedsgrandtheatre.com or call box office on 0844 848 2700

5pound5 Theatre and LWL Entertainment Ltd present:

CAST ANNOUNCED FOR ALL-NEW PRODUCTION OF SISTER ACT

Alexandra Burke took Leeds by storm when she took The Grand Theatre’s stage in the production of The Bodyguard last month, and she is set to return in August with Jamie Wilson’s all new production of Sister Act.

Based on the smash hit movie starring Whoopi Goldberg and Maggie Smith, Sister Act tells the hilarious story of Deloris Van Cartier, a disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a convent. Disguised as a nun and under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.

This all new production of Sister Act is directed and choreographed by Craig Revel Horwood with musical supervision and arrangements by Tony Award-Winner Sarah Travis.

Alexandra is joined by Joanna Francis as ‘Michelle’, Jon Robyns as ‘Eddie’, Karen Mann as ‘Mother Superior’ and Rosemary Ashe as ‘Sister Mary Lazarus’. Alexandra Burke will perform the role of ‘Deloris Van Cartier’ at all evening performances. At the matinee performances, the role of ‘Deloris Van Cartier’ will be played by Joanna Francis.

Aaron Lee Lambert will play ‘Curtis’, Sarah Goggin ‘Sister Mary Robert’, Susannah Van Den Berg ‘Sister Mary Patrick’, Allison Harding ‘Sister Mary Theresa’, Ricky Rojas ‘Pablo’, Samuel Morgan-Grahame as ‘Joey’ and Sandy Grigelis as ‘TJ’. The company also includes Nicola Bryan, Jennifer Douglas, Aiesha Pease, Sally Peerless and Justin Wilman.

Sister Act is at Leeds Grand Theatre from Monday 22^nd to Saturday 27^th August

Tickets are on sale now priced from £22.50 to £48

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

The Bread & Roses Theatre announces its Early Summer & Edinburgh Fringe Preview Season 2016

 20^th June to 6^th August 2016 – www.BreadandRosesTheatre.co.uk

“This venue is quickly shaping up as one of the most exciting ones amongst the London pub theatres!”  – RemoteGoat

The Bread & Roses Theatre in Clapham is going strong in its second year and launching a special Early Summer and Edinburgh Fringe Preview Season this June to early August.

The season begins with a series of one-week-runs:

·         Weird Sisters Theatre Company presents Airswimming by Charlotte Jones, directed by Stephanie Goodfellow

Tuesday 21st to Saturday 25th June (Edinburgh Preview). Shortlisted for the Broadway Baby Bobby Award 2016. 1924: Persephone Baker finds herself abandoned at St Dymphna’s Hospital for the Criminally Insane with only ‘unhinged, cigar-smoking, monomaniac transsexual’ Dora Kitson to keep her company.

·         SISATA presents Tess of the d’Urbervilles by Thomas Hardy – adapted & directed by Charmaine K Parkin

Tuesday 28th June to Saturday 2nd July. Four actors play multiple roles in what is an enigmatic and fast paced telling of virtue, love and injustice, but above all the impact of this on the human condition.

·         Heckcelsior presents Hardcross written & directed by Dominika Visy

Tuesday 5th to Saturday 9th July. When Rodney Hardcross’ death is announced, his children reluctantly gather, however, before his testament can be revealed, Rodney has one final request that outrages everyone.

·         Goblin Baby Theatre Co. presents Alone Inside the Box monologues by Connor Patrick Carroll, Liam Patrick Harrison, Tessa Hart, Tom Jensen, Sian Rowland, Judy Upton & Naomi Westerman

Tuesday 12th to Saturday 16th July.  From comedy to tragedy, from abstract to literal, these are thought-provoking stories of characters, sometimes stuck in an actual box, sometimes in a metaphorical one, sometimes both.

Continuing events around the 400^th anniversary of Shakespeare’s death (after the multiple 5 star reviewed hit-revival of The Complete Works of William Shakespeare (Abridged) in our last season), this season Shakespeare’s women get a say! Elicit Theatre Company presents A Merry Regiment Of Women by Rae Shirley from Thursday 21st to Sunday 24th July in which Lady Macbeth assembles five of Shakespeare’s most well-known female characters, however, events do not go according to plan, as three of his popular male characters arrive to shake things up; and from 2^nd to 6^th AugustShark Eat Muffin Theatre Company presents their Edinburgh preview of Best Intentions, featuring modern adaptations of two pivotal, but often overlooked, women in Shakespeare’s “Othello” and “Romeo and Juliet”.

The season also features a lot of exciting one-off Edinburgh Fringe Previews, such as Maxine Jones’Now We Are 60 (June 26^th), musical family show Babar the Little Elephant (July 4^th), award-winning comedy duo Ellis & Rose (July 28^th), Maddy Anholt’s Rent Girl (July 30^th) and many more! FromTuesday 26^th to Sunday 31^st July in particular the theatre is hosting a week dedicated to Edinburgh Previews, with several shows per day. For the complete line-up seewww.breadandrosestheatre.co.uk/edinburgh-previews

Other events include Rock Paper Scissors’ highly topical With or Without EU (June 20^th), Solace Women’s Aid’s charity comedy night Stand Up 4 Women (July 3^rd); and Green Curtain Theatre Company’s Traitors, Cads & Cowards about the aftermath of the 1916 Easter Rising.

The in-house Playwrights Circle is back again as well on Mondays 27^th June and 25^th July and on Saturday 18^th June the theatre invites everyone along to their Season Launch Party, a fun and free opportunity to meet the Bread & Roses Theatre team and mingle with companies involved in the upcoming season (including a free drink per person).

“We’ve got an awful lot going on over a short period of time in the next couple of months and are really looking forward to the summertime. Last season we had a major technical upgrade, mainly funded by donations, and it’s really exciting to see the theatre’s steadily continuing growth and the support for it.” – Artistic Director Tessa Hart

“The pub downstairs has also just undergone a major refurbishment. We are so pleased to have our theatre above a beautifully refurbished pub that is still as charming as ever and better than it’s ever been before.” – Managing Director Rebecca Pryle

For details on all listings and more head to www.breadandrosestheatre.co.uk

From Saturday 30 July to Sunday 7 August, Good Chance will find a London home on Festival Terrace at Southbank Centre’s annual Festival of Love. Entitled Encampment, the project will unite artists from the UK, Syria, Lebanon, Palestine, Afghanistan, Iraq, Iran, Sudan, Cameroon and Guinea. Across nine days and nights, a sweeping programme of performances and events will take place inside the iconic Good Chance Dome, direct from the Calais ‘Jungle’ refugee camp.

Encampment will offer a mixture of ticketed and non-ticketed events, all free, including theatre, art, music, discussion and workshops, featuring special guests from around the world. The dome structure Good Chance brought to Calais was made into a hub for welcome, exchange and performance by the people from the camp who visited it every day. Encampment will raise awareness of and reinvigorate the dialogue on one of the biggest human migrations in history, giving people in the UK a chance to come together to discover more and to celebrate our extraordinary diversity and humanity.

Joe Murphy and Joe Robertson, Artistic Directors and Co-Founders of Good Chance, said: “We worked with the residents of the Jungle camp in Calais to bring a theatre to life every day for six months. Much was made in that six months. Theatre, yes, but also paintings, music, song, poetry, puppetry, dance, rap, circus, and most importantly friends. It was a meeting place for expression, where stories could be told or forgotten, if only for an hour or so. Everyone who stepped inside saw the power of art in life, in a place where it’s needed.

We’re proud to be pitching the Good Chance Dome at Southbank Centre this summer, and bringing with it the idea that we’re so much better, bigger and braver when we come together and listen. Together with the incredible artists who will be buildingEncampment with us, we want to offer everyone the chance to meet, mix, talk and think about what we need to do. To have fun together and become excited, rather than scared, about what lies ahead. We have an opportunity here, a good chance, to develop a big new idea of who we are. And we want to seize this moment. Join us!”

Highlights will include: a brand new devised work created by Good Chance; Lebanon’sZoukak Theatre Company’s bracing production, The Last Tablet; an exhibition of art created by residents of the Calais camp; Afghan kite-making with a special guest reading from Michael Morpurgo; a new work from the South London-based migrant and refugee-led theatre company, The Paper Project; childhood games from across the globe, compiled by Pan Intercultural Arts; art, world music and dance from the APOW! project by Refugee Youth; Nassim Soleimanpour’s haunting nomadic play White Rabbit Red Rabbit; poetry from Exiled Writers Ink and Bards Without Borders; live music from The Calais Sessions, the Palestinian Youth Orchestra, 47SOUL, Maya Youssef and Mosi Conde; platform discussions on the role of arts in humanitarian crises and on the voices of refugee women; and much, much more.

Good Chance Encampment is in partnership with Southbank Centre.

A Night of Hope in aid of Good Chance

Stephen Daldry, Chair of Good Chance, and Quintessentially Foundation have organised A Night of Hope in aid of Good Chance, supported by ATG and Sony Pictures Television, on Monday 4 July at the London Wonderground.

With tickets priced from £60-£495, A Night of Hope features a thrilling line-up of special guests and live performances from some of Good Chance’s biggest supporters, including Tom Odell, Maria Friedman, Songhoy Blues and Giles Fraser; auction masters Stephen Daldry and Steve Coogan; alongside more incredible artists from around the world.

The gala aims to raise funds to allow Good Chance to return to Calais to re-build in the ‘Jungle’ refugee camp and to continue building temporary theatres of hope wherever the need is greatest. Good Chance Calais was unprecedented: a vital and much-loved space for freedom of expression, creativity and dignity, open for all, created for and with the people living in the camp’s incredibly difficult conditions.

Good Chance’s A Night of Hope gala committee is led by Stephen Daldry with Joe & Joe, Ben Elliot, Sonia Friedman, AA Gill, Joyce Hytner, Toby Jones, David Lan, Suzanne Mackie, Tracey Seaward, Juliet Stevenson and Caroline Villamizar Duque.

http://www.londonwonderground.co.uk/whats-on/a-night-of-hope

A Night of Hope in aid of Good Chance is supported by :

&     

in partnership with Quintessentially Foundation & London Wonderground

Park Theatre 8 June – 9 July.  Reviewed by Claire Roderick

Inspired by writer Gareth Farr’s own experiences, The Quiet House follows Jess (Michelle Bonnard) and Dylan (Oliver Lansley) as they go through IVF treatment.

The play begins with Jess waiting for Dylan to return home so that they can have sex as it is her peak fertile time. Instead he enters in an agitated state and tells a wonderfully convoluted and horrifying story about his visit to the shop. At this point, Jess already appears to be a mother, albeit to the stressed and slightly neurotic Dylan. The dynamics of their relationship change throughout the play, with Dylan becoming stronger and supportive as Jess begins to lose hope.

The reality of treatment is shown and explained unwaveringly, with repeated scenes of Dylan preparing the syringe as Jess waits silently and anxiously. But after every injection, there’s a kiss. Farr’s writing is brutally honest, with the couple turning on each other at times and sharing some bitter home truths, but the strength of their love is shown most powerfully in almost silent scenes that feel very honest and realistic. While the kitchen timer ticked down 2 minutes and Jess and Dylan watched anxiously, the audience was rapt, some were in tears. When the result was negative, there followed the most emotionally raw piece of acting I’ve ever seen. The way the actors moved and looked at each other is spellbinding and heart-breaking. I ran out of tissues at that point.

But, just like real life, the tragedy and stress is mixed up with lighter moments. Dylan and Jess are well written, clever and funny characters, and their narrative is helped along by Dylan’s boss, Tony (Tom Walker) – a kind of hybrid of Doctor Fox and David Brent, and upstairs neighbour Kim (Allyson Ava-Brown) – a new mother with no bladder control who lives upstairs. As well as being comedy gold, these characters highlight other aspects of IVF treatment. Dylan’s reluctance to tell anyone about what is going on leads to complications at work – at one stage they are convinced Jess has cancer! While Jess’ subtle underlying resentment of Kim’s motherhood leads to tension.

Michelle Bonnard portrays the physical need of Jess to have this baby with a fierce intensity and is simply stunning. Oliver Lansley reveals Dylan’s inner strength subtly as the play progresses, but still keeps that wild eyed look that may lapse into complete panic at any time. Their interactions are sublime and fill this love story with passion and hope.

The Quiet House is a funny, honest and emotional play that is brilliantly written and beautifully acted. A must see.