WEST END STARS JOIN FORCES TO MAKE WAVES FOR UK PREMIERE OF NEW YORK’S CULT HIT PARODY MUSICAL

WEST END STARS JOIN FORCES TO MAKE WAVES FOR UK PREMIERE OF NEW YORK’S CULT HIT PARODY MUSICAL

TITANIQUE DROPS ANCHOR AT CRITERION THEATRE FROM 9 DECEMBER.
CAST BOARDING THE SHIP OF DREAMS:

DARREN BENNETT (Singin’ In The Rain)
LAUREN DREW (Six)
JORDAN LUKE GAGE (Bonnie & Clyde)
STEPHEN GUARINO (I’m Dying Up Here)
ROB HOUCHEN (Les Misérables)
KAT RONNEY (Hex)
CHARLOTTE WAKEFIELD (Spring Awakening)
LAYTON WILLIAMS (Everybody’s Talking About Jamie)
 

london.titaniquemusical.com

Rehearsal photos released today of the star cast set who will lead the UK Premiere of Titanique in the West End.

Dropping anchor at The Criterion Theatre from Monday 9 December 2024 will be Darren Bennett (Don in Singin’ in the Rain, Teen Angel in Grease West End) as Victor Garber / Luigi, Lauren Drew (Catherine of Aragon in SIX UK TourBrook Wyndham in Legally Blonde Regents Park) as Céline,  Jordan Luke Gage(Clyde in Bonnie & Clyde, Romeo in & Juliet West End) as Cal, Stephen Guarino (Showtime’s I’m Dying Up Here, Netflix’s EastsidersTitanique LA and Green Room 42) as Ruth, Rob Houchen (Marius in Les Misérables West EndEugene in Eugenius! Off-West End) as Jack, Kat Ronney (Rose in Hex, Laertes in Hamlet National Theatre) as Rose, Charlotte Wakefield (Wendla Bergman in Spring Awakening, Gemma in The Great British Bake Off Musical West End) as Molly Brown and Layton Williams (The Emcee in Cabaret, Jamie in Everybody’s Talking About Jamie West End, Strictly Come Dancing Finalist) as the Iceberg.

Completing the company are Freddie King (Gentlemen Prefer Blondes, Union Theatre), Adrianne Langley (Sixties Girls, Dusseldorf), Madison Swan (The Book of Mormon, West End),Rodney Vubya (The Book of Mormon, Original West End Production) and Kristina Walz (Titanique, Daryl Roth Theatre). 

Eva Price and Michael Harrison said:
“We’re overjoyed to see this production come to life in the UK, and thrilled to have brought together this dream team to launch our West End season. When we first set out to cast Titanique, we knew we needed an ensemble that could bring the perfect mix of humour, heart, and talent to this wildly fun show. We can’t wait to welcome them all aboard the ship in London and for audiences to experience the star power this cast will bring to our story.”

Titanique will have its press night at the Criterion Theatre on Thursday 9 January 2025.
Tickets are on sale at https://london.titaniquemusical.com

When the music of Céline Dion makes sweet Canadian love with the eleven-time Oscar®-winning blockbuster film Titanic, you get Titanique, off Broadway’s most award-winning splash hit that turns one of the greatest love stories of all time into a hysterical musical fantasia.

Titanique has taken New York by storm – extending multiple times since its premiere in 2022, it has been recognised with critical acclaim and multiple awards. It recently opened in Sydney in September 2024 to rave reviews.

Want to find out what really happened to Jack and Rose on that fateful night? Just leave it to Céline Dion to enchant the audience with her totally wild take, recharting the course of Titanic’s beloved moments and characters with her iconic song catalogue. Sailing on fierce powerhouse voices in show-stopping performances of such hits as My Heart Will Go On, All by Myself and To Love you More – backed by a full live band – Titanique is a one-of-a-kind theatrical voyage bursting with nostalgia, heart and campy chaos.

Co-written by Tye Blue, Marla Mindelle and Constantine Rousouli, Titanique celebrated its Off-Broadway premiere in June 2022 at Asylum Theater, starring the musical’s co-authors Mindelle and Rousouli as Céline Dion and Jack Dawson. After several sold-out extensions, the musical transferred to the Daryl Roth Theatre on November 20, 2022.

Titanique is directed by Tye Blue (“RuPaul’s Drag Race”, Rumer Willis’ Over the Love Tour), and choreographed by Ellenore Scott (Funny Girl, Little Shop of Horrors). Music Supervision, Arrangements and Orchestrations are by IRNE Award-Winner Nicholas James Connell. Scenic Design for Titanique is by Gabriel Hainer Evansohn and Grace Lauchbacher for Iron Bloom Creative Production; Costume Design is by Alejo Vietti; and Lighting Design is by Paige Seber; and Sound Design is by Lawrence Schober with casting by Pearson Casting CDG.

Titanique won seven major awards during the 2022/23 theatre season, including three Lucille Lortel Awards, the Off-Broadway Alliance Award for Best New Musical, Las Culturistas’ Culture Award for Best Indoor Performance and two Dorian Awards.

The London production of Titaniqueis co-produced by Eva Price and Michael Harrison.

Titanique plays The Criterion Theatre from Monday 9 December 2024.

ACTING FOR OTHERS PODCAST BACKSTAGE CURRY ANNOUNCES NEW ROSTER OF GUESTS

ACTING FOR OTHERS PODCAST BACKSTAGE CURRY
ANNOUNCES NEW ROSTER OF GUESTS

Including Harriet Thorpe, Jenny Seagrove, Sally Hughes, Cheryl Baker, Mark Farrelly, Jill Saward and Bill Sharpe

Acting For Others podcast series Backstage Curry, presented by actor and presenter Mark Curry, have announced a new roster of guests each spanning across music, theatre and screen, with the podcast giving insight to each guest’s individual journey into the entertainment industry.

Guests announced today include actresses Harriet Thorpe and Jenny Seagrove, Artistic Director of The Mill at Sonning Theatre Sally Hughes, Bucks Fizz’s Cheryl Baker (winner of the 1981 Eurovision Song Contest), actor and writer Mark Farrelly, and Shakatak’s Jill Saward and Bill Sharpe.

The series, which was launched in June this year with guests including Alexia KhadimeBonnie Langford and Debbie McGee, raises funds for Acting For Others, encouraging listeners to donate via the charity’s website or donations link – https://actingforothers.co.uk/donate/. All episodes are currently available to listen to wherever you get your podcasts.

In each episode, Mark delves into the detail of what it takes to create theatre, live shows and events; discussing the process, discipline required, challenges faced and the rewards’ gleaned in a career in the arts. These unique, peering under the bonnet conversations give honest authentic insights to the questions we’d all love to ask our fantasy dinner party guests. 

Mark Curry is set to appear as General Waverley in White Christmas at the Mill at Sonning. His credits as a presenter include Blue Peter, Celebrity Antiques Road Trip, Make Me a Dealer, Catchphrase, Record Breakers, Curry For Breakfast (Talk Radio), Change That and Record Breakers. As an actor, his theatre credits include Wicked (Apollo Victoria, London), Ten Times Table, Wife Begins at Forty, The Rocky Horror Show, Tons of Money, And Then There Were None, Far From The Madding Crowd (UK tours), The Small Hours, Appetite, Dangerous Corner (Theatre Royal Windsor), Victor Victoria, Company (Southwark Playhouse), Talent (The Menier Chocolate Factory) and The Woman In Black (Fortune Theatre). His film credits include Bugsy Malone and The Flying Scotsman.

www.actingforothers.co.uk

Facebook: /Acting4Others

Instagram: @actingforothers

Twitter: @ActingForOthers

#WestEndFleaMarket

Hull Philharmonic Heroes and Villains Review

Hull City Hall – 24th November 2024

Reviewed by Dawn Bennett

5*****

What a brilliant way of spending a Sunday afternoon, watching the Hull Philharmonic Orchestra play A Family Concert, Heroes and Villains. With a history of performing for over 130 years I was expecting good things from them but what a delight they were and so talented!

Under Musical Director, Simon Chalk, and leader Richard Quick, they played music from a variety of different composers some instantly recognisable and some new.

We listened to Fanfare for the Common Man and then Billy the Kid (Ballet Suite) which included pieces Mexican Dance and Gun Battle, composed by Aaron Copeland.

Poppies, which was by local composer Sam Mavor, was a glorious piece of music composed in the autumn of 2022 and inspired by the remembrance poppy, worn to remember the conflicts of the two World Wars and later conflicts. It was such a beautiful piece of music and very moving and was conducted by Elaine King.

Following on from Poppies was Hymn to the Fallen from the film Saving Private Ryan composed by the brilliant John Williams.

After the interval We had Fanfare to the Uncommon Woman composed by Joan Tower.

We then had Wojciceh Kilars Suite from Dracula. I really enjoyed these pieces particularly The Storm which was dark, foreboding and very atmospheric.

The King of the spaghetti western music, composer Ennio Morricone, Moment for Morricone was instantly recognisable with the music from The Good The Bad and The Ugly and Once Upon a Time in the West.

The last piece of music played was another masterpiece from composer John Williams the Superman March from the Superman film, fabulously played and when it ended it brought the audience to their feet in a well-deserved standing ovation.

All the pieces, apart from Poppies, were conducted by Simon Chalk, and what a wonderful conductor he was and his explanations about the pieces made an enjoyable concert even more so.

The choirs, Hull University Camerata Singers, Hymers Junior School Choir (Year 6) and Hymers Senior School Choir were very good. Their singing helped to bring the pieces alive.

This was a really fabulous concert and I look forward to watching them again in the near future and I would really recommend everyone to go and see them. Definitely not one to miss!

Barb Jungr Sings Dylan & Cohen Review

The Crazy Coqs, Piccadilly Circus, London W123 November 2024

Reviewed by Phil Brown

4****

This accomplished and captivating show is something of a precursor to an album launch in January 2025 and a brief tour entitled Hallelujah on Desolation Row in selected locations starting March.  Details are on Barb Jungr’s website at https://www.barbjungr.co.uk/tour-dates

Barb Jungr is arguably Britain’s best kept jazz secret, despite a substantial body of recorded work and a long track record of performing, having started singing at the age of 2 on bus rides in Rochdale.  Clearly fizzing with ideas, this could be because she draws inspiration from many sources and genres.   

She certainly has a formidable range of musical talent, a powerful, expressive voice with exquisite diction, and on the evidence of this gig, the gift of engaging audiences from first contact with a spellbinding, intimate act that showcases her passion for great songwriting.  A natural, witty raconteur, one of the many delights of this set were Barb’s between numbers introductions, providing insight into her choice and the song itself. 

Amongst many talents are her choice of collaborators.  On this performance she was accompanied by the best – Simon Wallace on sublime grand piano and arrangements, and  Davide Mantovani on tasteful double bass.  I’m not sure if they were mic’ed or not, but I loved the clarity and tone of the acoustic instruments .  Both players were immaculate throughout and each took well crafted solos in the course of the evening.  A quick glance through Barb’s back catalogue shows she has been collaborating with Simon Wallace over many years and that close relationship really shines through in classy arrangements and flawless performance.

Barb is known principally as a re-interpreter of classic and, apparently to her record label’s vexation, less well known songs, although she is an impressive songwriter in her own right (her Soho Songs suite is brilliant).  That glance through her back catalogue also shows she has been re-interpreting Bob Dylan’s songs for quite a few years now.  In fact, it might be said she is a Dylan obsessive.  (As a lyricist, is there better to obsess over than a Nobel prize winner for literature?).  She seems to have come later to Leonard Cohen, but even so, her “Hard Rain:The Songs of Bob Dylan and Leonard Cohen” album was released 10 years ago.  

On this occasion, Cohen songs open and close the show of 12 numbers (score Dylan 6 : Cohen 6) with Dylan dominating the middle section.  As well as being amongst the greatest songwriters of their generation, Cohen & Dylan have the most distinctive of voices in popular music, making these renditions really quite unfamiliar.  It’s like listening to completely new material.  I must say, in Barb’s register, I thought the Dylan material came across far stronger than Cohen’s, although the bluesy treatment of the incomparable “Tower of Song” and popular favourite “Hallelujah” with a bossa nova style rhythm and Barb on egg shaker were excellent.  The others, without Cohen’s deep growl which seems so much part of his art, made less of an impression.

Stand out Dylan songs were the beautifully arranged ballad “Love Minus Zero/No Limit” with lovely bass solo, the jazzy “Mississippi”, and all 10 verses of “Desolation Row”.   The Traveling Wilburys hit “Handle with Care” reminded us of what a supergroup can create for fun.  On a couple of occasions, Barb mentioned her work with various choirs which ended up inspiring her choice of songs and associated arrangements.  One of these was “Love Minus Zero/No Limit”; the other was the dramatic ballad “Kansas City” for which Marcus Mumford/Taylor Goldsmith, fitted music to Dylan’s lyrics and which also included a fine Davide Mantovani bass solo.  Of all the songs performed, these two could have been tailor made for Barb.   She closed the show perfectly with a heartfelt version of Cohen’s “You Got me Singing” in a seeming personal tribute to the influence of two giants of literate songcraft.

Overall, this was a hugely impassioned performance – a special evening of entertainment and top notch musicianship, and one that rightfully highlights the topmost echelons of the tower of song by bringing some forgotten gems of songwriting back into view…

For the record, “Hallelujah” is released as a single and is available for downloading “from every possible known place in all of the planets and solar systems”.

https://slinky.to/Hallelujah

The full programme was:

SongWriterSource Album
Everybody KnowsCohenI’m Your Man
Tonight Will be FineCohenSongs From a Room
SlowCohenPopular Problems
Love Minus Zero/No LimitDylanBringing it All Home
MississippiDylanLove and Theft
New MorningDylanNew Morning
Desolation RowDylanHighway 61 Revisited
Tower of SongCohenI’m Your Man
Handle with CareDylan + Traveling WilburysTraveling Wilburys
Kansas CityDylan/Mumford/GoldsmithThe New Basement tapes
HallelujahCohenVarious Positions
You Got me SingingCohenPopular Problems

A Christmas Carol (ish) Review

@sohoplace – until 31 December 2024

Reviewed by Claire Roderick

5*****

After a gala night plagued, and eventually halted, by technical issues – the ghost of Charles Dickens resolving the rights loophole perhaps? – Nick Mohammed’s frenetic and fabulous Christmas show is running as smoothly as brandy butter down granny’s chin.

The 2022 run at Soho Theatre embraced the chaotic plot brilliantly, but this slicker and glitzier West End production raises the comedy bar. Mohammed is always hilarious as the egotistical and selfish Mr. Swallow and putting him in a play he hasn’t prepared for – and is wilfully rewriting as he goes along – is comedy gold.

Mr. Swallow and long-suffering partner Mr. Goldsworth (David Elms) are joined by Jonathan (Kieran Hodgson) and Rochelle (Martha Howe-Douglas) to stage the show. Due to rights issues, Goldsworth has rewritten the show with Santa as the central character. Mr. Swallow is ideal to act as the selfish Santa, with Rochelle and Mr. Goldsworth as his elves and Jonathan as Rudolph (Hess), Santa’s lone surviving reindeer. As Santa limits hay rations and looks for tax loopholes, he is visited by the ghost of elf Marley. Santa’s whining and laziness – maybe he could just deliver presents to 5 children? – should ultimately lead to a redemption arc, but the ghosts’ visits (including him annoying Marley with the burning question – 3 ghosts or 3 additional ghosts?) lead to more and more idiocy as Christmas is cancelled and uncancelled.

As Swallow fires constant questions and points out the many plot holes in the script and squabbles with the increasingly frustrated Mr Goldsworth, the Scrooge/Santa story plays out with flashbacks and flash forwards and it all gets ridiculously meta and sillier. We even get the voice of God making an appearance, leading to an excruciatingly funny attempt by Mr. Swallow and company to remember the lyrics to Silent Night before we get to witness the birth of Jesus – complete with midwife.

Musically, Oliver Birch has created a near perfect Christmas variety tone, made even more spectacular by insane lyrics from Mohammed. In true panto style, there is some audience participation and magic, leading to a brilliant physical performance from Mohammed that draws gasps from the audience.

Mohammed’s script is clever and silly, with Mr. Swallow’s overacting and revelling in Santa’s cruelty allowing Mohammed to let rip and have a ball with this ridiculously broad character – a real surprise for those sitting around me who had only seen Mohammed in Ted Lasso (the 2 Emmy nominations get mentioned in the show – obviously!) Elms is wonderfully uptight as poor Mr. Goldsworth and Hodgson is sweetly hangdog as hapless Jonathan. Howe-Douglas is a hoot as Rochelle, leaning into the northern club singer vibe brilliantly (although Rochelle has performed Lloyd Webber shows all round the world, including Horsham)

The skill it takes to perform and direct something that appears so chaotic is incredible, and director Matt Peover and the entire cast are at the top of their game. Emily Holt’s choreography is beautifully judged to make the dancing seem under-rehearsed and the cast excel at switching between the manic grins and wide-eyed consternation of performers who haven’t a clue what may happen next as they move around the stage and present props on Fly Davis’s atmospheric and inventive Santa’s workshop set.

If you’re not feeling Christmasy yet, get down to @sohoplace for A Christmas Carol (ish). If this funny and festive gift of a show doesn’t warm your heart, then bah, humbug to you.

Beauty and the Beast Review

Gala Theatre Durham – until Tuesday 31st December 2024

Reviewed by Sandra Little

4****

This pantomime version of a traditional tale played to a full house of excited children and adults on Saturday evening. The show began with a lively, energetic and colourful song and dance routine and the audience learned that the action takes place in Chester-le-Rue ( real name of this local town is Chester -le-Street). The key characters in this pantomime are Belle (Beth Crame), Madame Perplexe (Zoe Lambert) who is Belle’s eccentric inventor aunt, Jongleur (Jude Nelson) the local travelling minstrel and of course Gourmand (Kieron Michael) the show off that everyone loves to hate! The beast, who we meet later in the story, is played by Suryan Hadrick.

This panto loosely follows the traditional tale where, after several twists and turns, a beautiful and clever young girl finds herself locked in a castle with a very bad tempered beast. In the castle Belle also meets a talking clock called Madame Horloge (Sarah Bulmer) and a street light called Monsieur Brilliant (Adam Donaldson). As we all know Belle eventually falls in love with the beast and the spell is broken, allowing him to return to the handsome Prince Alphonse that he was before a wicked fairy cast a spell on him.

Using the story of Beauty and the Beast as a framework, this production manages to include most of the pantomime traditions that audiences expect at Christmas time. We had lots of the usual audience participation, corny jokes, water squirted at the audience, a slapstick routine, a magical castle, a villain for us all to hate, and of course a happy ever after ending. There was a wacky routine with larger than life forest animals, which appealed to the children in the audience, and the painting of Belle’s book stall proved to be as chaotic and messy as would be expected!

I felt that this pantomime lacked polish on occasions, lines were sometimes rushed and the impact was therefore lost. Costumes were also a little disappointing and did not have the wow factor we might expect from a panto. The beast’s costume in particular was unconvincing and didn’t give him the imposing sense of fear one would expect; however the audience was enthusiastic and keen to participate. Despite these minor issues, it is important to bear in mind that, although this is not the most elaborate or lavish pantomime you will ever see, the ticket price is much lower than some other pantos in the region and still represent excellent value for families.

To end on a positive note the scenery, lighting and props were very effective and added to the dramatic atmosphere of the story. The dancing from the ensemble in this production was absolutely first class and a joy to watch! Kieron Michael as Gourmand approached the role with energy and enthusiasm as did Jude Nelson as Jongleur, meanwhile Beth Crame as Belle was a convincing kind and clever “princess” and I’m sure families who came along to watch this offering from Gala Theatre went home happy and enjoyed the evening.

RAPUNZEL, THE EVERYMAN ROCK ‘N’ ROLL PANTO REVIEW

EVERYMAN THEATRE, LIVERPOOL – UNTIL SATURDAY 18TH JANUARY 2025

REVIEWED BY MIA BOWEN

4****

It’s beginning to feel a lot like Christmas and as we approach the festive season, Liverpool showcases a delightful array of enchanting traditions. However, the real countdown to Christmas in the city officially kicks off with the arrival of the Everyman’s rock ‘n’ roll panto.

This year, the panto team, led by Francesca Goodridge’s dynamic direction, presents an engaging Rock ‘n’ Roll production of Rapunzel that captures (nearly) all of the essential festive elements. This vibrant and humorous reinterpretation of the classic fairy tale, crafted by Jude Christian, features lively musical numbers such as “Eternal Flame” by the Bangles and “That Don’t Impress Me Much” by Shania Twain. It reimagines the classic tale of Rapunzel, infused with rock music, playful costumes, and vibrant characters that leap off the stage. Together, these elements create a thrilling and delightful atmosphere. Set against a modern backdrop, this story presents a rivalry between hairdressers in Liverpool, inviting the audience to engage with the narrative. On press night, it was Rob from Waterloo that gave the best singing performance with the audience cheering him!

The theatre’s in-the-round design helps create a cozy atmosphere, enabling the cast to move freely throughout the space. This dynamic approach often leads to fun and playful moments that delight the young children in the audience, enhancing their overall experience. Meanwhile, the adults shared knowing chuckles at the double entendres, which are an essential part of pantomime.

The multi-talented and enthusiastic performers seamlessly transition between acting and playing in the backing band, greatly enhancing the overall experience.

There were plenty of laughs to be had, particularly thanks to Tomi Ogbaro, who portrayed Trevor, Dame Debbie’s loyal yet hapless assistant, as well as Ed Sheer-am, the noble steed, or shall I say ram. Prince Timotei played by Ben Boskovic, was truly hair-larious, especially in his outrageous Lord Farquaad costume, complete with coconuts for horse clops, reminiscent of the famous Monty Python gag from “The Holy Grail” and a tiny trumpet, to toot his own horn!

When the cast enjoys themselves on stage, especially in a panto, that joy definitely reaches the audience. Last night, both the cast and audience shared plenty of giggles, even when things didn’t go perfectly. For instance, Danny Ruff played by Zoe West nearly stumbled on the steps, which added to the fun!

This production has to be seen to be be-weaved. Rest a-sheared that no matter the hairstyle you’re into, Rapunzel is a cut above the rest!

Charles Dickens – A Christmas Carol Review

Norman Bragg Studio, Aylesbury – Saturday 23rd November, Sunday 15th December – Wednesday 18th December 2024

Reviewed by Rachel Clark

4****

What a delight!.

I normally book the theatre on a title and not necessarily check what the full story and background is. This was A Christmas Carol and just expected the traditional play with all the characters on the stage, how wrong I was.

This is a play of the play put on by the Dickens Theatre Co. with only two actors, Samuel Oakes – who plays Ebeneezer Scrooge and Ryan Philpott who plays George Dolby and all other characters.

This is the 10th year of Dickens Theatre Company on tour. There is only a small set and using props of different clothing hanging from a step ladder or two, goes on to create all the characters of the Dickens Novel.

The play is based on a Theatre company going to the theatre to put on the play A Christmas Carol, but the train gets delayed and the show must go on so, with only the cast of two that have turned up. The show is performed with Ebeneezer Scrooge played by Samual Oakes and all other cast members performed by Ryan Philpott. When they first announce it you chuckle and think really! How’s that going to work? but it does and extremely well. The story telling is superb and you feel you are transported into the set and part of the cast just looking on. Ryan did make me giggle when his was playing a part in the Christmas past and his flat cap was offset to the side and I thought of Norman Wisdom and was waiting for him to call for Mr Grimsdale!.

The few children in the audience were a little restless but the adults had there ears and eyes glued to the set as it was so well done, the show had no interval as only 75 ins – but 75 mins of magical storytelling.

Ivo Graham: Grand Design Review

York Theatre Royal – Wednesday 20th November 2024

Reviewed by Michelle Richardson

3***

Comedian Ivo Graham visited the wonderful city of York and York Theatre Royal, on a blistering cold Wednesday, or maybe it was a Tuesday, or Thursday night. That was a running joke after he had a mishap whilst doing the introductions off stage. Even before that, the York audience were treated to a York quiz projected onto a screen on stage. We were encouraged to email our answers straight to Graham. I am ashamed to say that I struggled to get even one correct answer, but then again I’m a bit of a nomad and not from Yorkshire, let along York. There is also a pre-show slide show, complete with increasing close-ups of York icon, Dame Judy Dench.

This show is structured slightly different that the usual comedy show, where the support act comes on stage first before the main star. Graham is the supposed 15 minute warm up, he did slightly overrun, before the support act, Alex Kealy. Kealy is not only a fellow comic, but also his best friend, who we later learn, went to the same boarding school as Graham. Not your ordinary school, but Eton. Two self-proclaimed posh boys smashing the comedy circuit.

References about his family certainly pulled at the heartstrings, as well as drawing out laughs from the audience. He never hides the fact of his upbringing, making up for a good part of the show. With questions about how many Rupert’s you knew at school, proved the point. How many did you know? I certainly had no one at my school, but funnily enough I did go to a Prince Rupert School, about as posh as I get. The story about how many of his friends and alumni were made redundant on the same day this year, felicitated probably the biggest laugh of the evening.

Throughout the show Graham uses a lot of slides, depicting photos, anything from Kevin McCloud, whose television show has inspired the naming of this one, to Gareth Southgate, someone he admires, trooping the nice men out of their depth. Not only are there photos, but many lists, and Venn diagrams. Who knew that Venn diagrams could, or would be used in comedy? Genius.

His attention span is quite short and he flittered about, jumping from one topic to another. Saying that, his is very articulate and witty, engaging well with the audience. It was great to see a packed out theatre and Graham is obviously well regarded in York and beyond. An entertaining evening in the beautiful city of York. His UK tour continues throughout the UK.

Birdsong Review

Festival Theatre, Malvern – until 23rd November 2024

Reviewed by Courie Amado Juneau

5*****

Sebastian Faulks’ Birdsong is the stage adaptation of his novel of the same name. This 30th anniversary tour is the story of love and loss in the Great War’s long, dark shadow.

James Esler (playing Stephen Wraysford) gave us a sensational, world weary reading totally befitting a man who has lost, loved, lost and yearns for answers amongst the mud, blood and horrors of that pitiful conflict. I detect a major young talent here and was very impressed. Leading lady Charlie Russell (Isabelle Azaire) gave us a sensational performance that was sensitively delivered, displaying a side of her I hadn’t seen before. Already one of my favourite actresses from the “Goes Wrong” franchise, she has gone up in my estimation enormously after tonight’s epic performance. You could feel every anguished moment of her tortuous route negotiating love vs duty. All I can say is “wow”.

The rest of the cast were amazing too, with even the lesser roles cast to perfection. Tipper (Raif Clarke), for instance, was powerfully wrought, giving full vent to the loss of youthful innocence. Roger Ringrose (Bérard) was your a very realistic smarmy politician. Sargon Yelda (Rene Azaire, Isabelle’s husband) gave us a glimpse into a thankfully largely long gone chauvinistic era. Natalie Radmall-Quirke (Jeanne Fourmentier) had a gentle power that was palpable, adding a welcome softness to this tragic tale. I loved her performance.

Jack Firebrace (played to perfection by Max Bowden) was spectacularly well delivered. He truly gave us the full range of emotions in a veritable acting tour-de-force. With Tama Phethean (John, his best friend and he also played Lebrun and Shaw) – they were both an absolute joy to watch and deserve special mention!

The set was inventive; with a static portion cleverly utilised as the house, factory and battlefield with the addition of some scant set dressing. Ingenious – particularly the overhead piece which descended to give us the underground tunnels in all their claustrophobic glory. The costumes were gorgeous, particularly in the first half before the war with the ladies looking stunning in their creations!

Music was poignantly used too to great effect. The song just before going over the top and the one sung by Jack being particularly heart wrenching!

There’s some visceral scenes, especially in the trenches. Director Alastair Whatley didn’t hold back showing the realities of war in all it’s degradation, with full on barrages of artillery fire (so be warned if you jump easily).

A vital watch, a timely reminder (especially the ongoing stain on humanity that is Ukraine and Gaza) and a wake up call. Yes, all that, but also uplifting that the human spirit can overcome such insanity and evil to find love, peace and forgiveness. There’s plenty of humour to enjoy as well, with the Tommies letting off steam and releasing the tension over a few drinks. So, for all the darkness it has enough light to be an enjoyable evening out at the theatre.

This a work that deserves to be watched and supported and one I feel would get even better with repeat viewings. I have no hesitation to wholeheartedly recommend it.