Full casting has been announced for the London transfer of, A Role To Die For, the critically acclaimed new comedy by Jordan Waller, directed by Olivier Award winner Derek Bond. The production will play at Marylebone Theatre from Saturday 26 July until Saturday 30 August, with a national press performance on Thursday 31 July.
Starring Tanya Franks (EastEnders, Pulling, Broadchurch) as ‘Deborah’, the cast also includes Philip Bretherton (As Time Goes By, The Final Cut) as ‘Malcolm’, Harry Goodson-Bevan (Harry Potter and the Cursed Child, West End, Saturday Night Fever UK and Ireland tour) as ‘Quinn’, and Obioma Ugoala (Hamilton, original West End cast, Frozen, Theatre Royal Drury Lane, The Book Thief, Leicester Curve) as ‘Theo’.
Tanya Franks and Obioma Ugoala join the production for its London run, with Philip Bretherton and Harry Goodson-Bevan reprising their roles from the hit Barn Theatre premiere earlier this year.
She’s not just casting a role. she’s gambling with a legacy.
It’s the eve of the biggest casting reveal in Hollywood: Deborah is about to announce the next face of the world’s most legendary spy franchise. The tux is pressed, the martinis are chilled… until the rumours start flying. Her perfect pick? Caught in a scandal that would make even their on-screen alter ago look tame.
With a ticking clock and a legacy on the line, Deborah must make an impossible choice: stick to the sleek, suited formula the world knows, or dare to let the next generation redefine a global icon.
A sharp-witted, laugh-out-loud comedy about identity, legacy, and the explosive battle between tradition and progress, A Role to Die For will leave you shaken, stirred, and seriously entertained.
A “wickedly funny” satire on legacy, identity and the cost of change, A Role To Die For was hailed as “a tonic” by The Telegraph and “a real five-star blockbuster” by Wilts and Glos Standard.
The creative team reunites from the Barn run, with set and costume design by Cory Shipp, lighting design by Adam Foley, sound design by Amanda Priestley, with the addition of video design by Matt Powell and Associate Direction from Anna Ryder.
Director Derek Bond said, “It’s such a joy to return to this play with such a talented cast – Tanya is the perfect addition to a company already bursting with comic timing and chemistry.”
Writer Jordan Waller said, “After a brilliant run at the Barn Theatre this year, I am thrilled that we’re bringing the show to London – and even more excited that Tanya Franks is stepping into Deborah’s shoes. It’s going to be a blast!”
A Role To DieFor is produced by DEM Productions, in association with Barn Theatre, Melting Point, and Bob & Co.
Critical acclaim for A Role To Die For at Barn Theatre
The show is a tonic, and deserves an audience beyond Cirencester as we all drum our fingers waiting for the real deal.
Dominic Cavendish, Telegraph
****
This wickedly-funny world premiere is a real crowd-pleaser.
Wilts and Glos Standard
*****
A Role To Die For certainly left us shaken with laughter and stirred by the thoughts.
Renowned cabaret artist Hersh Dagmarr brings his unique flair to two of the world’s biggest pop acts this summer with premiere of all-Kylie cabaret show
Minogueus Sanctus on 28 July
plus the return of acclaimed Pet Shop Boys celebration
Indefinite Leave to Remain on 8 July
Hersh Dagmarr, the legendary French queer singer/songwriter and visual artist direct from the Berlin Weimar catacombs, will deconstruct the back catalogues of two of the world’s biggest pop acts this July, with a brand new Kylie Minogue show, plus the return of his popular Pet Shop Boys cabaret.
On Monday 28 July, Hersh will debut his new show Minogueus Sanctusat the Divine in Dalston, North East London. Centering around iconic pop princess Kylie Minogue’s repertoire rearranged in the piano-vocal cabaret style, the show also explores the very concept of pop royalty and fandom itself – asking the essential question of what makes and who is (or more precisely who isn’t) a ‘gay icon’. Expect a night full of familiar refrains from La Minogue with a slightly whimsical twist, a religious subtext and frankly theatrical delivery from La Dagmarr!
And back by popular demand, on Tuesday 8 July at London’s Crazy Coqs, Hersh will be performing his show Indefinite Leave To Remain, putting a unique cabaret twist on the songs of Pet Shop Boys and transporting them to the Weimar era. This is not a tribute show, but a love letter to London in the words and music of Neil Tennant and Chris Lowe, and an ode to finding one’s home. Expect classic hits including West End Girls, Heart, Rent, I’m Not Scared and I Wouldn’t Normally Do This Kind Of Thing.
For both shows, Hersh will be joined by pianist and arranger extraordinaire Karen Newby.
Hersh Dagmarr is a London-based native French singer/songwriter and a cabaret artist. His visceral inspiration from the grand german kabarett era mixed with his own background as a jazz singer and experience as a French club kid from the noughties evolved into a unique blend of expressionist and theatrical avant-pop cabaret. “My interest in music is quite polar. It’s equally coming from a faraway past and a rather distant future. Like some kind of haunting past life.”
Besides his own music production, Dagmarr regularly performs cabaret shows in which, accompanied by a pianist, he performs classic tunes from the global cabaret songbook as well as more contemporary material with an emphasis on Kurt Weill’s repertoire and Chanson Francaise.
Stage@leeds, University of Leeds – until 21st June 2025
Reviewed by Lauren Fordham
5*****
Fantasy World Adventure Mega Park is the brainchild of recent University of Leeds graduates Abbie Freeston and Matthew Stanley.
It follows the fortunes and misfortunes of Teddy Mega, who is under pressure from his mother, Susan, to take over from his recently-deceased father and become Chief Executive Officer of the family theme park, Fantasy World Adventures Mega Park (FWAMP).
The audience is immersed in the world of FWAMP from the moment they enter the auditorium, and are welcomed by yellow-uniformed staff, who exhort us to play real games like ‘Hook a Duck.’
The attention to detail paid to creating the set is commendable, from the authentic elaborate theme park map to the use of furniture to effectively recreate the rise and fall of rollercoasters and the humorously blunt sign advertising the sale of ‘Really Expensive Burgers.’ The only addition it (and stage@leeds as a whole) lacked was the provision of ice cream as there is no air-conditioning in the venue and temperatures were, but one could also argue that it’s absence served to accentuate the authenticity of a torturous tramp around a real theme park on a hot day.
The hugely talented cast is led by Henry Marshall as Teddy, who is endearing at the start as he laments his inability to live up to his mother’s expectations and continue his father’s legacy in ‘I Can’t Be Mega’, because he wants to be the furry bunny mascot instead.
His chemistry with Lilian Sztankov, who plays his best friend-turned-girlfriend Pippa Robins, is empathetic and believable. The scene where she encourages him that he can win the role of mascot evokes the ‘What’s Up Doc?’ moment between Emmett and Elle (the latter being the one who mistakenly dons a bunny costume and needs reassurance.) in Legally Blonde The Musical. It doesn’t surprise me to see that Legally Blonde has been one of Sztankov’s theatrical credits in real life, too. As Mega gains confidence, however, he treats Pippa with disdain, saying, ‘What do you know, you’ve never had pressure and you’ve never had goals, I need someone on my level to tell me what to do.’ This anxious-protagonist-leaning-on-a-woman-and-then-belittling-her-once-he-reaches-his-goal trope reminds me of Evan in the musical Dear Evan Hansen, and I think Marshall certainly has the ability to play him should the musical be revived in the future.
Tribute must also be paid to the comedic chops of Gee Case Watson who plays Barb, proprietor of the Hook a Duck stall, and to Abbie Freeston’s lyrical wit in playing with near-profanity in the song ‘I Can’t Hook a Duck at Hook a Duck’, I have praise also for Beth Walkden, who adeptly plays Esme, a complaining child abandoned at Barb’s stall while her mother goes on the Abyss of Death rollercoaster, with a Verruca Salt-like skill.
I must also applaud Charlotte Farthing, who plays Teddy’s mother Susan Mega. Although she’s not a likeable character at first due to the way she mocks Teddy’s goal, ‘You’re going to be a shitting bunny rabbit?’ The song ‘Mummy Mega’s Lament’ gives a greater depth to and sympathy for her as she remembers first meeting Teddy’s father Carlos. This evokes the song, ‘If I Met Myself Again’ from Everybody’s Talking About Jamie, and Margaret New would definitely be a role she would be capable of if she chose.
Lastly, I want to commend The Department Montage, specifically The Royal Castle, and the Sugar Daddy – hilarious songs about the STIs swapped between princes and princesses and the unfortunate but mirthful misconception of a morally-murky candy floss seller Frank Jones (played by Josh Phillips.)
This show is sweet as candy and equally funny so do choose this adventure and enjoy this rollicking, raucous, random, rollercoaster of a musical now, or look out for it at the Edinburgh Festival 2026 – you won’t regret it and you’ll certainly give it a clap!
Dragging Your Heels is a fantastically queer production with everything needed in it to make it fabulous. Glitter, sequins, makeup, wonderful songs and, not to mention, a generous dose of comedy all blend in together to make this witty musical a true hit with the audience. The play revolves around Ben (Terry Geo) who happens to have only recently been through a divorce moves back to his hometown. Upon returning he makes a best friend, Callum (Tafadzwa Madubeko) as well as overcoming his stage fright – despite wanting to be a stand-up comedian – in a slightly alternative way from the help of makeup, heels and of course the glorious Tammy Scowls (Dolly Diamond), a fierce yet kind-hearted drag queen.
By only having 3 characters/ actors on stage I can confidently say that as part of the audience, I was more intrigued by the development of the characters, as we saw their stories – particularly Ben’s – unfold right in front of us, while simultaneously having a deeper connection with them. The studio especially helped with the feel of this, due to being such an intimate stage.
At the beginning I wasn’t so sure about how the play would be and the actors seemed a little nervous while singing but as it progressed, it got exceedingly better, each and every one of the actors enrapturing me with their singing and acting. Without a doubt, throughout the performance there was a constant chorus of laughter and an uplifting atmosphere alongside it. Despite the issues with sound, the actors powered through delivering us a spectacular performance.
All in all, I would say it is a truly magnificent production to see with friends, a great laugh and just a bit of fun.
I had heard very good things about The Girl On The Train, but had never read the original novel (from author Paula Hawkins, 2015) nor the film adaptation that followed it the following year. So it was with high expectations but no real knowledge that I approached tonight’s play.
The story revolves around a missing person’s case where principle witness Rachel Watson believes she saw Megan (the missing person) just before she disappeared. The trouble is that she saw this glimpsed from a train and Rachel is rather unreliable due to some hefty personal issues…
Our leading lady, Laura Whitmore (playing the aforementioned Rachel) was very strong, especially her drunken, forgetful portrayal. Despite her obvious flaws she elicited much sympathy, which is a testament to Laura who did an outstanding job of carrying the play – she seemed to be on the stage 100% of the time.
The rest of the cast was equally strong with Edward Harrison (Rachel’s ex husband, Tom), Zena Carswell (Anna – the new Mrs Watson), Samuel Collings (Scott Hipwell) and Daniel Burke (Psychiatrist Kamal Abdic) all artfully played with vigor and passion.
I’ll briefly single out for special mention the other central female character; Megan Hipwell. Only ever seen through other’s recollections, this was a fascinating character study and so well executed (pun intended just a little) by Freya Parks. I loved her performance throughout.
I understand that they didn’t soften the edges of these fractured characters (especially lead, Rachel) as these very cracks make them all so believable and also keep us guessing who done it as they all have such excellent motives and opportunities. Kudos to adapters Rachel Wagstaff and Duncan Abel and director Loveday Ingram for that and getting such tense, emotionally charged performances from all concerned – bravo.
This was a fascinating study into memory and manipulation. How we can doubt ourselves and others without too much invitation. Also, the glimpse behind the thin blue line revealing much about police investigations and the difficulty they have with conflicting testimony from very unreliable witnesses (think drink). Paul McEwan (as DI Gaskill) made a convincing police presence with the right level of gravitas and personality.
Sound was a key feature of the overall spectacle with superb use of the discordant screech – the final climactic scene was especially enhanced in this respect (alongside the lighting); it was visceral, leaving one breathless. That, coupled with ingenious use of minimal props, gave an apt, claustrophobic density – the entire production really focusing our attention on the drama and characters (the key elements).
One other thing which really caught the eye was the amazing use of the background area (as befitting a play about memory). There were multiple screens and a small stage behind the front screen through which actors appeared or emerged to play out pivotal scenes. These screens also used innovative lighting to convey train velocity, a disco and other more subtle things. The backdrop effect which conveyed confusion or spiraling into madness was a work of genius and worth seeing the show for all on its own!
I was highly impressed with everything about tonight’s production and have no hesitation in wholeheartedly recommending this marvelous work.
Director Alastair Whatley has cleverly taken age old Scottish folklore and turned it into a thrilling ghost story. You may of heard many versions of Selkie stories. This one will chill you to the bone! Selkies are shapeshifters that live in the sea as seals and emerge from the water, shedding their skins to appear in human form. The skin is hidden until they wish to return to the sea.
In the remote Scottish Highlands two women arrive at a former crofters hut in the deserted village of Coillie Ghille. Lovers with baggage. Caroline Harker (Suzanne) plays the older woman, married, with children. Harker is a believable character, showing all the anxt of a woman torn between loyalty to her family and love. Gracie Follows (Laura) has a past that is hidden and the crofters hut has a strange pull on her. Follows provides tension and jeopardy through her youthful exuberance. With no phone signal they are cut off from the outside world, drawn into the dark history of the croft and the previous people that lived there.
Liza Goddard (Enid) is a ghost with a yearning for her Selkie to return. She will do anything for her beloved croft, if only to see her Selkie again. Goddard is quite terrifying at times, chanting her spells, scattering soil to protect the croft.
The present interweaves with the past as Follows slips between Laura of the hear and now and Eileen of the past. Follows adeptly plays the two characters distinctly differently, taking us back and forth to a time when the croft was on the edge of a village community.
The sad story of Laura’s mother is played out by Harker as Ruth. Harker brings a warmth to the character that keeps the story grounded. Simon Roberts (Tom) is the vicar father that gives context and that guarded emotion associated with English men.
Gray O’Brien (David) brings the story together, giving his character a confidence and self assurance that is in counterbalance to Tom.
The role of women has changed over the generations in many ways, however we still face challenges, battling the stereotypes. The undercurrent to this story is the fight for independence and our vulnerability if we fight that battle alone.
This August, the World Premiere of a new stage adaptation of Interview, a seductive psychological thriller about truth, persona, and power, comes to the stage at Riverside Studios.
Fading political journalist Pierre Peters is sent to pen a profile piece on influencer turned movie star Katya. He’s furious at the indignity of it. Katya is equally unimpressed and sick of being objectified and misrepresented by men with pens. What motivates her to submit to this interview?
Adapted for the stage and Directed by Teunkie Van Der Sluijs, this provocative two-hander is adapted from Theo van Gogh’s cult 2003 film and reimagined for a world of influencer culture, media distrust, and gender power plays.
Through the use of multimedia, audiences see every text, swipe and private moment from the characters’ phones brought into public revelation. This is Interview for the post-truth, post-MeToo, always-online age. Intimate. Ruthless. Addictive
For over 20 years the story of Interview has resonated with audiences across formats and countries – starting in 2003 as Theo van Gogh’s Dutch cult film, with a screenplay by Theodor Holman, to a US remake starring and directed by Steve Buscemi. Now Teunkie Van Der Sluijs adapts and directs Interview for the stage based on the Holman screenplay and has reimagined it for a world of influencer culture, media distrust, and gender power plays.
Teunkie Van Der Sluijs has said, “Interview is the kind of drama I love most: two strangers, armed with reputations and agendas, trapped in a room. Theirs is a collision of opposites: old media versus new fame, intellect versus mass appeal, honesty versus performance. And beneath every revelation lies something darker: manipulation, fabrication, survival.
Now, more than ever, we live in a world where narrative is power. Where influencer dominance, social media spectacle, and eroded trust makes Interview an exploration of how control of the story means control of reality.”
Directed and adapted for the stage by Teunkie Van Der Sluijs, with scenic design by Tony Award-winner and Olivier Award nominee Derek McLane, costume design by Bernat Buscato, lighting design by Jackie Shemesh, sound design by Ata Güner and projection design by idontloveyouanymore (Anna West and Davi Callanan). The creative team are joined by associate designer Ben Davies and associate director Zoë Templeman-Young. Casting is by Julia Crampsie CDG and Wayne Linge for Crampsie Linge Casting. Interview is general managed by Smart Entertainment and produced by Tony Award-winner Douglas Denoff, with co-producers Kevin Kinsella, Alexander “Sandy” Marshall and Broadway Rainbows. Casting to be announced in due course.
LISTINGS
INTERVIEW
Directed and adapted for stage by Teunkie Van Der Sluijs
Based on a screenplay by Theodor Holman and a film by Theo van Gogh (2003 Column Film)
Scenic Design by Derek McLane
Costume Design by Bernat Buscato
Lighting Design by Jackie Shemesh
Sound Design by Ata Güner
Projection Design by idontloveyouanymore (Anna West and Davi Callanan)
Casting by Julia Crampsie CDG and Wayne Linge (Crampsie Linge Casting)
Executive Producing and General Management by Smart Entertainment
Produced by Douglas Denoff for Catch Katya Limited
Co-Producers: Kevin Kinsella, Alexander “Sandy” Marshall, Broadway Rainbows Underlying rights: Thomas Sessler Verlag, Vienna/Column Film
From: 23 August – 27 September 2025
Performance Schedule: Monday – Saturday, 7.30pm
Thursday and Saturday 2.30pm
Running Time: Approximately 90 minutes no interval
SPECIAL ANNIVERSARY CAST ANNOUNCED FOR THE WEST END PRODUCTION OF
LES MISÉRABLES
FROM 8 SEPTEMBER FOR 8 WEEKS ONLY
KILLIAN DONNELLY AS JEAN VALJEAN BRADLEY JADEN AS JAVERT KATIE HALL AS FANTINE JAC YARROW AS MARIUS ADAM GILLEN AS THÉNARDIER MARINA PRIOR AS MADAME THÉNARDIER SHAN AKO AS ÉPONINE JORDAN SHAW AS ENJOLRAS BEATRICE PENNY-TOURÉ AS COSETTE and IAN MCINTOSH AS JEAN VALJEAN AT CERTAIN PERFORMANCES
To celebrate the 40th anniversary of Boublil and Schönberg’s musical sensation LES MISÉRABLES, Cameron Mackintosh is delighted to have put together, for 8 weeks only, a special company of artists who have been part of Les Mis history and are drawn from the West End, International, movie and Arena Spectacular MIZ ROCKS World Tour casts of the show. From 8 September to 1 November 2025 the role of ‘Jean Valjean’ will be played by Killian Donnelly alongside Bradley Jaden as ‘Javert’, Katie Hall as ‘Fantine’, Jac Yarrow as ‘Marius’, Shan Ako as ‘Éponine’, Jordan Shaw as ‘Enjolras’, Beatrice Penny-Touré as ‘Cosette’ and welcoming to the Sondheim Theatre celebrated British actor Adam Gillen as ‘Thénardier’ and Australian theatre legend Marina Prior as ‘Madame Thénardier’. Ian McIntosh will play the role of ‘Jean Valjean’ at certain performances. Details on how to get tickets for the actual birthday performance, Wednesday 8 October, will soon be announced.
Side by side with the anniversary company, Mackintosh is thrilled to introduce the terrific new cast who, from 7 July, will launch the show into its 5th record-breaking decade. It will be led by Ian McIntosh as ‘Jean Valjean’ alongside Sam Oladeinde as ‘Javert’, Katie Hall as ‘Fantine’, Adam Gillen joins the Company as ‘Thénardier’, ClaireMachin as ‘Madame Thénardier’, Thiago Phillip Felizardo as ‘Marius’, Amena El-kindy as ‘Éponine’, Joe Griffiths-Brown as ‘Enjolras’ and Izzi Levine as ‘Cosette’, most of whom will continue in the World’s Longest Running Musical from 3 November 2025 following the 8-week birthday season.
The company is completed by Hollie Aires, Aidan Banyard, Ella May Carter, Nicholas Carter, Matthew Dale, Irfan Damani, Lila Falce-Bass, Sophie-May Feek, Jessica Johns-Parsons, Seán Keany, Chris Kiely, Sam Kipling, Mia Lamb, Sarah Lark, Ollie Llewelyn-Williams, Matthew McConnell, Aaron-Jade Morgan, Adam Pearce, William Pennington, Jordan Simon Pollard, Lewis Renninson, Danielle Rose, Georgia Tapp, Noah Thallon, Imaan Victoria, and Danny Whelan.
Cameron Mackintosh said: “It’s hard to believe that LES MISÉRABLES is already 40 years old and still in the prime of life on Shaftesbury Avenue in London’s West End, packing out the Sondheim Theatre.
What a year it has already been for LES MIS, with the spectacular Arena Tour selling out around the World featuring many of the stars of the stage production, and 11 of the UK’s greatest Amateur Companies presenting their own acclaimed productions in major theatres around the country. Now in London, where it all began in 1985, with the British premiere of the reconstructed version of the show in English in association with the RSC, originally brilliantly staged by Trevor Nunn and John Caird, and then after 25 years, evolving into a new equally acclaimed production directed by James Powell and Laurence Connor with new designs and staging, keeping the spirit of LES MISÉRABLES revolutionary for the 21st Century.
Remarkably, even though the first staging of the concept album of LES MISÉRABLES happened in Paris in 1980, directed by Robert Hossein, the French never truly embraced LES MIS until Christmas 2024, when the Châtelet, the National Theatre of France, presented a completely new all-French production of our version – it proved a triumph, deservedly garnering the show’s original creators, Alain Boublil and Claude-Michel Schönberg, the Légion d’Honneur.
As we go into our remarkable fifth decade, we have found a terrific new cast to continue storming the barricade from 7 July for ‘One Year More’. And in celebration of our 40th Birthday, I have put together, as I have always done for major celebrations, a special cast for eight weeks only, drawn from the outstanding performers of the last decade’s international productions of LES MIS, as well as the current Arena Spectacular and the Oscar winning movie, all of whom have emerged as new theatre stars. This will be the last time that they will all be able to play together in LES MIS as their careers take them onto new stellar paths.
In 1985, Edward Behr in Newsweek predicted that LES MIS would be “a musical that makes history” – it certainly has. A very special Birthday celebration indeed for the World’s longest running musical.
My grateful thanks must first be to the show’s brilliant creators Alain Boublil and Claude-Michel Schönberg, without whom none of us would have a job, and the timeless words of Herbert Kretzmer inspired, as we all have been, by the great Victor Hugo. My eternal gratitude to everyone who has been involved with Les Misérables over the last 40 years both on and off the stage, and lastly thanks to you our audience for continually wanting to Hear The People Sing and ensure that Tomorrow Always Comes for Les Misérables.”
Boublil and Schönberg’s magnificent iconic score of LES MISÉRABLES with lyrics by Herbert Kretzmerincludes the classic songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Several of its songs have become real life anthems of revolution wherever in the world people are fighting for their freedom.
Les Misérables has been seen by over 130 million people worldwide in 55 countries, 452 cities, and has been translated into 22 languages. It has won over 180 major awards around the world, among which 4 Olivier Awards (including a special recognition award in April 2025), 8 Tony Awards and 5 Helpmann Awards, and the movie won 3 Oscars.
As part of the 40th anniversary celebrations, Les Misérables The Arena Spectacular is currently on a world tour having sold out venues across the UK, Europe, Abu Dhabi, Australia and is now in Taipei before visiting Kaohsiung, venues across Japan, Shanghai and more cities to be announced.
Last year, Cameron Mackintosh and Music Theatre International announced LET THE PEOPLE SING, a UK-wide amateur theatre project celebrating the 40th anniversary of Boublil and Schönberg’s worldwide phenomenon throughout 2025. For the first time ever in the UK, 11 leading amateur companies have been allowed to present their own versions of the full production in cities across the United Kingdom. The show, which has never previously been made available to amateur groups in the UK whilst it continues to play to packed houses in the West End, has already been staged in Belfast, Leeds, Glasgow, Porthcurno, Nottingham and Birmingham, and will soon play Norwich, Liverpool, Swansea, Bristol and Brighton.
Last July, Les Misérables featured in the Opening Ceremony of the 2024 Paris Olympic Games, which was watched by over 700 million people around the world. Les Misérables is the longest running and indisputably one of the most popular musicals in the world.
Tonight my partner and I had the absolute delight to be invited to review Degrees of Error’s latest tour of Murder She Didn’t Write – the improvised murder mystery and spoiler alert, I have to say this is right up there with my absolute favourite live theatre experiences of my life. This show had me genuinley crying with laughter and struggling to breath and appealed perfectly to my own very British sense of humour.
The extremely talented cast of six experienced improv actors were absolutely hilarious, both individually and when working as a collective. Please bear in mind that what I am about to say about the actors may be entirely different on your night as the entire show is improvised.
Stephen Clements guided us through the evening as detective Iva Hunch (exceptional name) and was equally hilarious to watch both when actively engaging with the audience but also when he was just watching the drama unfold, seeing him crack up constantly had me in stitches and was one of my favourite parts of the show. Lizzy Skrzypiec was fantastic as Violet Violet, the chicken academic, or as otherwise referred to… the cock professor! She had exceptional physical comedy skills and her irrational fear of a left turn was hilarious! Peter Baker was superb as Barry Green, the closeted bar proprietor. He had a devious wit about him where he loved throwing his colleagues under the bus with a curveball or a challenge and this made the drama all the funnier. Caitlin Campbell was great as Clitilda Blue, wife of Barry and landlady of the pub. I particularly enjoyed her strong physical comedy skills with her martial arts being a strong highlight. Rachael Proctor-Lane was marvellous as Gloria Gold, 42 year old bride to be on her hen. Proctor-Lane had exceptional timing and did a very good job of bringing it down pace wise when the show started to run whilst not letting the ball drop. Douglas Walker was good as Simon Red, gardener stripper murdered at the end of act 1. I liked the use of flashbacks to see the different motives in his death and his quick wittedness was brilliant, though his stripping left a little to be desired. A special final shout has to go out to “Jerkins”, Iva Hunch’s assistant from the audience who picked the murderer and victim and also got to model a very nice hat.
The set for the show was great, a layered backdrop with multiples entrances that looked a lot more high budget than what I was expecting. You may have also noticed an interesting little tidbit in the character names… Barry GREEN, Simon RED, etc. etc. These were quite clearly based on cluedo characters and this was reflected in their wardrobe which perfectly leant into this vision. I liked the fact that this production seemed to be just as well suited to all spaces and scenarios big or small and this really leant itself to the improv feel. The comedy style was also absolutely perfect in my opinion and I would have absolutely no notes, I can’t recall the last time I laughed this hard.
In conclusion I could not recommend this production in any higher terms. These are truly masters of their craft and this to me is the dictionary definition of “must see”. Please please please see this production when you can on this tour, we are already looking at booking to see it again when we can for a brand new experience.
Henri Merriam’s intelligent and moving play is an intense portrayal of a coercive relationship. Merriam’s writing and performance are passionate and compelling, creating an intriguingly realised character full of contradictions and insecurities.
Shahaf Beer’s clever design centres around a chest of drawers representing the narrator’s life: memories and emotions hidden and revealed as she opens each drawer, unable to stop herself returning to one that causes anguish.
Merriam’s character looks back on her life and her relationship: the heady early days of her relationship with Tom throw up a few red flags, but the joy of romance trumps everything – even a rather pointed Valentine’s present. Tom appears as a recorded voice, creating a more powerful hold over Merriam than another actor could, as her reactions tell us everything. Tom’s misogynistic views, excused at the beginning, become darker and more hurtful, and his armoury of every slight he’s ever felt, or compromise he’s had to make because of her is weaponised with ruthless efficiency. From the beginning of the play her obsessive tendencies are made clear and there is a growing feeling that some of her own behaviours may not be acceptable as comments from her friends and her own self-criticism reveal details. Tom’s coercive behaviour is obvious and unforgiveable, and questions about whether her behaviour is a survival response or part of her natural character begin to arise. This ambiguity adds further layers to the narrative, but Merriam’s charismatic and humorous performance ensures the audience ‘s sympathy remains with her, even in her darker moments. Merriam uses a microphone to voice her friends’ opinions and comments – both helpful and judgemental – to great effect.
Sophia Capasso’s assured direction creates a visual picture of the messy life to accompany the narrative, swiftly cleared away and rammed back into the drawers as Merriam ends the marriage – whether this is done in a healthy way or not isn’t explored but feels emotionally true. Classical references to women who defied men’s expectations and their punishments become fuel for Merriam’s rage and fear for life after Tom, again leaving her future unclear.
This powerful and emotional play is fantastic entertainment.
