Around this time of the year, discussion turns to when is it too early to put up the Christmas decorations? Why are the Christmas lights already up and lit in the town centre and when should the Christmas pantomime season really start? So for me, an invitation to go to the Theatre Royal Windsor and watch Charles Dickens’ A Christmas Carol, in early November, was considered maybe a tad early in the calendar.
However, this was an ‘on air’ production and presented as if from the broadcasting studio of a radio show. So despite having a reasonably good appreciation of the story, I was entertained and pleasantly surprised by the novelty factor as well as some clever interpretations along the way.
We are initially presented with a studio of chairs and microphones presented across the front of the stage, and some more interesting apparatus set behind to provide the sound effects, admirably performed throughout by one of the cast.
Then we are joined by the rest of the cast, yellow scripts in hand and dressed in Victorian fancy dress attire to complement the presentation.
Most of the cast performed multiple roles throughout the play, apart from Roy Marsden who played Ebenezer Scrooge from start to finish. He was joined by Jenny Seagrove playing Mrs Cratchit as well as the ghost of Christmas past, Michael Praed playing Bob Cratchit and Master, Robert Duncan playing Marley’s ghost, Fezziwig, and the ghost of Christmas present, Shannon Rewcroft playing Belle, Mrs Dibler and Tiny Tim, Holly Smith playing Mrs Fezziwig and Martha, Ben Stock playing Fred, Young Scrooge and Belle’s husband, and Micheal Workman playing the foley artist, Dibler, and the Ghost of Christmas future.
There’s no need to explain the story, I’m sure we’re all very familiar with the Charles Dickens novel, so beautifully adapted to this “on-air” format, however I have to admit that I’m now just a little more familiar with some of the characters in that book than I was previously, thanks to this format and the entertaining way in which this admirable cast presented it.
It’s a great story, and wonderfully re-told in this charming performance that plants you firmly into the Christmas spirit. And that Christmas spirit is leveraged by Ben Stock to get the whole audience to sing along with a few Christmas carols before the final curtain.
It’s a show that leaves you with a big grin on your face, having enjoyed a good old Christmas classic in an entirely novel format. But be warned, when you leave the theatre, you’ll wonder where are all the Christmas decorations?
Actress, singer and musical theatre star Sandra Marvin sat down with fairypowered to answer 20 questions. Sandra is currently on tour, playing Angelique in the brilliant & Juliet, which can be seen in Leeds from the 18th to the 30th of November. Tickets can be found here
Let’s start with a few favourites
Favourite show (whether you have been in it or not)?
Ragtime or &Juliet
Favourite book?
The Wisdom for Creating Happiness and Peace Vol 1 by Daisaku Ikeda
Favourite theatre?
Sheffield Crucible or The Donmar
Favourite song?
Evergreen by Barbra Streisand
Favourite music?
All sorts soul, jazz, blues, rnb
Favourite food?
Thai or Japanese
Favourite drink?
Crement / champagne atm
What is your favourite role?
Too hard to say!!! Motormouth Maybelle, Mama Morton, Queenie, Deloris, Becky, Martha Or Angelique?!!’
What was your first role?
My first role was Playing Miss Motormouth Maybelle in Hairspray
And what role would you really like to play?
I would love to play Bess in Porgy and Bess
If you weren’t a performer what would you be?
A counsellor or a therapist
What made you decide to be a performer?
I love how we are able to bring joy to others though performance and the arts
Do you enjoy touring?
I love bringing amazing productions to regional theatres and seeing the how the different regions react
What advice would you give 16 year old you?
Don’t be afraid to be unapologetically you! You are enough and the right people will come into your life when you believe it xx
Do you fancy branching out in Producing or Directing?
I’d love to assist a fabulous director
What was the last stage show you saw and really enjoyed?
The last show was Guys and Dolls at the Bridge theatre
Favourite line from any show?
We’re about to go balls out! &Juliet
If you could be anyone else for the day, who would it be?
Hmmmmm not sure…. me having won the lottery on a beach in the Caribbean with my closest friends and loved ones?
What are the nicest/weirdest things you have ever received from fans?
Nicest- I’ve had a beautiful enormous cake made specially for the company by a local cake shop!
Can you tell us what you will be up to next?
Probably going on a long holiday when this finishes!The “Amazing” &Juliet continues its tour around the UK, and I can only advise you to buy a ticket so you don’t miss out. See the tour details at the website
Grease the Musical is based on the 1978 American musical romantic comedy film starring John Travolta and Oliver Newton John. Grease follows the high school romance between Danny Zuko and Sandy Dumbrowski. During the summer Danny and Sandy fell in love but said their goodbyes and went their separate ways as they didn’t live near each other. However, Sandy then moves to the area and enrolls in Rydell High for her senior year not knowing that Danny also attends the same school. The pair meet up and Sandy is sad to see the Danny she fell in love with on the beach is not the same Danny at Rydell High.
The main characters Danny Zuko and Sandy Dumbrowski are played by Marley Fenton and Hope Dawe who have a very hard act to follow in the footsteps of John Travolta and Oliver Newton John. I particularly liked Hope when she sang the song “It’s raining on Prom Night” and felt that her vocals were better when she sang on her own. Marley had all the fun characteristics of Danny and played the part well.
Some of the scenes had been changed from the original movie and I couldn’t understand why some of these changes had been made, for instance, the dance competition scene when in the movie Danny went with Sandy and then won the competition with Cha Cha (Deena Kapadia) in the stage performance he went with Patty (Phoebe Roberts). I also couldn’t understand why in the cheerleading scene the cheerleaders wore boxing gloves instead of using pom poms.
The hand jive was out of this world and the dancers were all spot on and gave an amazing performance. They certainly had a lot of stamina.
I felt that all the T-birds were stronger as a team in their roles than the pink ladies and that some of the vocals for the females were a bit screechy on the high pitch notes. There were times when the music was a bit too loud to hear the words being sang but if like me you have watched Grease a million times you knew what they were singing anyway.
Ben Nicholas (Kenicie) was really good in the Greased Lightening scene, jumping on and off the car with good vocals too.
Another good song was when Roger (Lewis Day) and Jan (Emerald B) sang “Mooning”, I felt their vocals were good together.
Of course, the musical ended on a high with everyone stood up singing to the remix of songs It was good that everyone managed to respect the show and not sing along to all the favourites that we all know and love.
I have been lucky to watch a number of Northern Ballet productions and I must say that this is probably the best one yet. It had a brilliant set and costumes. fabulous cast and absolutely amazing dancing.
Based on the novel by Charles Dickens this production was based on an original outline by Christopher Gable and developed jointly by Christoper Gable and Carl Davis. Northern Ballet, under Artistic Director Frederico Bonelli, brought this production to life.
Jacob Marley (Andrew Tomlinson) is dead and Scrooge (Jonathan Hanks) is the only person at his business partners funeral. The story then moves to several years later to London, on Christmas Eve, to the counting house that Ebeneezer Scrooge owns and where the long-suffering Bob Cratchit (Harris Beattie) is working along with his miserable boss. Even when the nephew of Scrooge (Jun Ishii) and his wife (Sarah Chun) and try and instil some Christmas spirit in Ebeneezer nothing works. Bob Cratchit leaves for home and Scrooge returns to his lodgings where he visited by the ghost of Jacob Marley who gives him the warning that unless he changes his ways he will be condemned to a life of torment.
Scrooge is visited by three ghosts, The Ghost of Christmas Past (Saeka Shirai), the Ghost of Christmas Present (Joseph Taylor) and the Ghost of Christmas Yet to Come (Andrew Tomlinson).
The Ghost of Christmas Past takes Scrooge to the home of his first employer and he sees the mistakes that he made as a young man.
The Ghost of Christmas Present takes him to the home of his employee Bob Cratchit and he sees that even with very little money or possessions they are very happy and content with each other.
The Ghost of Christmas Yet to Come see Scrooge back at the Cratchits house where the family are mourning the loss of their son and brother Tiny Tim (George Vernon).
Scrooge is then in a bedroom and on the bed is a corpse and Scrooge realises when he sees a headstone that the corpse is in fact himself.
Scrooge promises to change and indeed he does, from a bitter and lonely old man to someone who regains his lost humanity and begins to love his fellow man.
With the production and costume design by Lez Brotherston OBE the setting of this production was always going to good but it was really good to watch and to see how the set moved from Scrooges lodgings, to his office, to the Cratchit’s house, to the Fezziwig’s and back again.
This is a stunning production of A Christmas Carol and it is definitely a must see, if it’s the first ballet you have seen or if you have seen lots, you certainly will not be disappointed.
TUESDAY 3rd DECEMBER 2024 TO SUNDAY 5th JANUARY 2025
Welcome to the Rock! The international hit musical Come From Away is landing at Lowry, Salford next month for a 4-week festive run – part of its first ever UK tour.
Winner of Best New Musical awards across the globe, Come From Away shares the incredible real-life story of the 7,000 air passengers from all over the world who were grounded in Canada during the wake of 9/11, and the small Newfoundland community that invited these ‘come from aways’ into their lives.
It runs at Lowry from Tuesday 3rd December 2024 to Saturday 6th January 2025.
Steve Cowton, Head of Theatres at Lowry, said: “We are thrilled to be presenting this brilliant feel-good musical this festive season. Come From Away has been a huge hit all over the World and we can’t wait to share it with our audiences.”
Experience the joyous story and soaring music as spirited locals and global passengers come together and forge friendships that will stay with them forever. The first female American Airlines captain, the quick-thinking town mayor, the mother of a New York firefighter and the eager local news reporter are among the many real characters caught at the start of the moment that changed the course of history, and whose stories became a true celebration of hope, humanity, and unity.
The international hit musical has celebrated record-breaking engagements in the West End, on Broadway, in Canada, throughout Australia, and on a 60-city North American Tour.
This critically acclaimed show is on its first ever UK & Ireland tour, direct from the West End where it celebrated over 1,000 performances and played to more than 850,000 people at the Phoenix Theatre.
The Come From Away cast includes Natasha J Barnes (Hex at the National Theatre, The Witches of Eastwick at the Sondheim Theatre) as Janice & others, Daniel Crowder (Mamma Mia UK and International tour, The Mousetrap at St. Martin’s Theatre) as Nick, Doug & others, Mark Dugdale (Previously Come From Away at the Phoenix Theatre in London and Abbey Theatre in Dublin, The Book Thief at the Belgrade Theatre, Coventry and Curve in Leicester) as Kevin T, Garth & others, Rosie Glossop (Kinky Boots: The Musical at the Adelphi Theatre and feature film, Britain’s Got Talent semi-finalist as part of The Honeybuns) as Bonnie & others, Amanda Henderson (Robyn Miller in BBC’s Casualty, and Oliver! at Theatre Royal Drury Lane) as Beulah & others, Kirsty Hoiles (Mamma Mia! at the Novello Theatre, Spend, Spend, Spend UK tour) as Diane & others, Oliver Jacobson (The Book of Mormon at the Prince of Wales Theatre and Grease UK tour) as Oz & others, Dale Mathurin (Frankenstein UK tour, Evita at Regents Park Open Air Theatre) as Bob & others, Nicholas Pound (Cats at the formerly named New London Theatreand on UK and international tour, Elf at the Dominion Theatre) as Claude & others, Sara Poyzer (Mamma Mia! Novello Theatre, UK and International tours, Billy Elliot the Musical at the Victoria Palace) as Beverley, Annette & others, Bree Smith (Titanic The Musical UK tour and The Color Purple UK tour) as Hannah & others, Jamal Zulfiqar (Migrations, a Welsh National Opera UK tour and Tiger Bay at the Wales Millennium Centre) as Kevin J, Ali & others, with Angeline Bell (Matilda at the Cambridge Theatre and Mary Poppins at the Prince Edward Theatre), Daniel Cane (The Country Wife at Southwark Playhouse and Spamalot UK tour), Ashleigh Harvey (Mamma Mia! UK and International tour and Heathers at The Other Palace), Alyn Hawke (Disney’s Beauty & the Beast UK tour and 42nd Street UK tour), Kathryn Pemberton (The Sopranos UK and international tour and Catch Me at Upstairs at the Arts), and Kevin Yates (Ain’t Too Proud: The Life and Times of The Temptations at the Prince Edward Theatre and Beautiful: The Carole King Musical UK tour).
The Come From Away Creative team include Irene Sankoff and David Hein (Book, Music and Lyrics), Christopher Ashley (Director), Kelly Devine (Musical Staging), Ian Eisendrath (Music Supervision and Arrangements), Beowulf Boritt (Scenic Design), Toni-Leslie James (Costume Design), Howell Binkley (Lighting Design), Gareth Owen (Sound Design), David Brian Brown (Hair Design), August Eriksmoen (Orchestrations), Pippa Ailion CDG and Natalie Gallacher CDG (Casting), Tara Overfield Wilkinson (UK Associate Director), Richard J. Hinds (UK Associate Choreographer), Kirsty Malpass (UK Assistant Director), Alan Berry (UK Musical Supervisor), Andrew Corcoran (UK Musical Director), Zoë Hurwitz (UK Associate Set Designer), Sabrina Cuniberto (UK Costume Supervisor) and Marcus Hall Props (UK Props Supervisor).
Come From Away is produced in the UK by Smith & Brant Theatricals in association with Curve.
‘One of the Best Musicals of the Century’ The Times
Leicester Square Speigeltent, London – until 5 January 2025
Reviewed by Ava Clarkson
4****
The invite to review the 20th Anniversary showing of La Clique in Leicester Squares Speigeltent was much anticipated. Having reviewed this last year, I was looking forward to a night of “Cabaret, Circus, Comedy, Music” Housed inside the “Speigeltent” in the centre of the Leicester Square Christmas market, the atmosphere as you walk inside the big top is amazing and feels like the start of the festive season. A holly decked bar greets you in a pre-show room, as you wait to enter the show. The staff are friendly and welcoming, and the compère invites you to enjoy the show and leave your troubles outside. The big top again feels like Victorian times with music akin to the Greatest Showman and a beautiful burgundy velvet tented ceiling. We are seated circled around a small red centre stage, and at the edge of the tent are saloon style booths.
Twenty years ago, David Bates unveiled La Clique at the 2004 Edinburgh Fringe Festival. It has gone on to become a theatrical phenomenon and has toured the globe. Critics have been unanimous in their praise: “amazing, hilarious, exotic, erotic, stunning, mesmerising, breath-takingly skilled … La Clique is a rare and unmissable treat”. The show is hailed as a 16+ event and we are informed that the line-up could change night by night, but we are guaranteed a brilliant experience in the La Clique Speigeltent.
First up and setting the scene of what is yet to come is Miranda Menzies, in her second season with La Clique. She defies belief as she is attached to the ceiling by her hair and spun round and round at great speed. Her act of ancient hair suspension keeps the audience looking to the skies as we watch her muscular body contort and spin. We see her later in the evening too morphing inside a giant balloon in an alluring nightgown, only to pop out with a loud bang wearing not much more than her pants!
We are treated to various circus style acts over the evening from the likes of Americas Got Talent Semi Finalist Tap Dancer Bayley Graham whose energetic and fast paced routine has us mesmerised by his feet. Cornelius Atkinson hangs from the ceiling on 2 simple ropes – shirtless, tanned and toned, his pure strength and aerial stunts are astonishing – as are his muscles on muscles! Katherine Arnold arrives from the velvet curtains to the music “weirdo”. She climbs into the wooden hoop and expertly spins and whirls around, up and down to the haunting music. Arnold is a regular on the London cabaret scene, performing in iconic venues such as Circus London, Proud Cabaret and The Box. Danik Abishev performs his show on his hands, hopping from one tall pole to another with ease and an air of cheekiness as he strips to his pants. Nathan Price and Isis Clegg-Vinell a roller skating “Dysfunctional Duo” take over the stage and the audience is asked to remain seated. The speed in which they spin around the tiny red stage is truly thrilling.
The audience holds its breath throughout their performance and indeed later in the evening when they are joined by Cornelius Atkinson to become Trio Vertex for a combination of roller skating and aerial stunts you will not want to miss.
The humour is bought to the stage by Florian Brooks and his acrobatic goldfish – Bubbly! Florian spins his goldfish (pretend of course – no animals were hurt during this performance!) around and around in a glass of water on a hoop. He then returns to show off his exceptional juggling skills later in the evening, with a speed of hand I’ve not seen before.
But the performer of the night for me was Asher Treleaven who hilariously performs with a Diablo, raunchily gyrating around his body and chatting away to us as he does. A member of the audience is involved and enthusiastically joins in with Asher’s banter. He flirts with the men and the woman and when he returns to the stage later, he reads to us – you may think “how can this be funny” but the audience is in fits of laughter as he reads a raunchy story with hilarious voices, accents and acting.
Although this is the 20th anniversary opening night which brings high expectation, I do not feel it was as risqué or varied as last year’s show. The circus style acts were outstanding, the danger, strength, and grace of the performers underneath the beautiful Speigeltent roof is a remarkable sight, but in previous years there has been more singers, comedy and variety acts brought out. La Clique does state each evenings line up could be different though… This being said the acts defy gravity and common sense in way that leaves us on the edge of our seats throughout. La Clique is the perfect night out for the festive season.
Royal & Derngate Theatre – Northampton – until 16th November 2024
Review by Amanda Allen
5*****
We all know the story of Mary Shelly’s Frankenstein, probably from childhood, but this reimagined tale by Sean Aydon brought a new perspective to one of the earliest Science Fiction stories we have. Set in 1943 with most of Europe tearing itself apart we are introduced to Victoria Frankenstein (played brilliantly by Emily Jane McNeill) and “Captain” (played with equal brilliance by Basienka Blake) in a small hut at the end of nowhere they are hiding away from the world for what initially appears to be very different reasons. Both women are frightened and untrusting of each other and the wider world around them and it’s here that their tale unfolds.
As the story of Victoria’s creation becomes clear we learn about her past life and work, her relationship with her family and her love interest, Henry (Tawana Dingembira) For me the relationship between Victoria and her lab assistant, Francine, played wonderfully by Brianne Surgeoner was the one I found myself most invested in. Victoria didn’t seem to appreciate the impact her attempts to create the perfect human specimen could possibly have on Francine who described herself as imperfect, the irony seemed lost on Victoria or else she was truly oblivious to Francine’s differences as she saw her simply as her super-efficient Lab assistant, totally overlooking what others would describe as disabilities.
The frightening prospect of the government getting involved in her experiments was brought to the stage by Richter, the representative from the University played by Basienka Blake again. It made you think about many of the atrocities we now know happened during the 2nd World war and about how far medical science has come in the last 80+ years. Victoria’s quest to be able to cure many illnesses and sickness and replace worn parts of bodies is, in the 21st century, fact not fiction. Lydia Whitehead who played Victoria’s sister Elizabeth bought some much needed softness and light to a dark tale offering up her love of her sister and her family and the normality of her life in comparison to the strange darkness of Victoria’s Life.
The creature created by Victoria and Francine is portrayed brilliantly by Andy Cresswell. He gave the monster creation real depth of character. The idea that he could learn to speak, understand, read and function in a world he had no prior knowledge of was a fascinating concept. To have him quoting Shakespear’s Hamlet was a genius touch making him appear empathetic and human whilst at the same time he was possessed of a powerful need to destroy those he thought had wronged him.
Mention must be made of the set, lighting and costume designers (Nicky Bunch, Jason Addison and Tabitha Stock). They created the perfect atmosphere for frightening the audience! I swear I left my seat I jumped so much at the point where the creature came to life, even though I knew it was coming. With dark, moody lighting, fabulous prosthetics, costumes and make-up the creature was truly scary. The story also had a proper ending, leaving, no ends left untied, no questions about what happened next. It made you think about life as we know it and the advances science has brought us. Do not go and see this with young children or if you have a heart condition, but if that’s not you get your tickets quick.
Everyone’s favourite convenience store packs up shop to hit the road as Kim’s Convenience goes on a UK tour March–June 2025
After critically-acclaimed runs at Park Theatre and Riverside Studios,the hit production Kim’s Convenience is packing up and heading on a UK tour. Taking charge as the new patriarchic figure of the family will be star of the CBC and Netflix adaptation James Yi. As well as being known for Kim’s Convenience,Netflix, he has also been seen in The Interview and Gabby Duran & The Unsittables and has played Appa in previous productions.
Well versed in the complex and shifting family dynamics within the story’s narrative, having been involved in both stage and screen,Yi will explore the growing separation between traditional first-generation immigrant values and those of his second-generation children in this heart-warming tale of the Korean-Canadian family. James Yi comments, Kim’s Convenience has literally changed my life. This play continues to open new doors for me, like getting to go all the way to the UK to tour the show with an amazing cast and production team! I feel like I’m in a dream that I never want to wake up from. The award-winning play from
Ins Choi which inspired the CBC and Netflix’s TV comedy adaptation debuted in 2011 at Toronto Fringe festival, where the play won the Best New Play award and the Patron’s Pick. Kim’s Convenience continues to champion East Asian representation and remains a reflective and universal story that resonates with audiences from any culture. Tackling persistent issues surrounding community, family and intergenerational relationships,this production’s rich tapestry of modern life will now be shared with wider UK audiences.
Producer Adam Blanshay comments, We’re delighted that Kim’s Convenience continues to capture the hearts of its audiences and that people around the United Kingdom will get to experience this universally beautiful story, which embraces family, cultural heritage, and the legacies we leave behind.
Park Theatre’s Artistic Director Jez Bond also comments, I am thrilled that after the success of its sell-out run with us and subsequent transfer to Riverside Studios, Kim’s Convenience will be touring the county-enabling audiences in the regions to enjoy this funny, poignant and entertaining show.
Previous praise for Kim’s Convenience:
Masterfully directed by Esther Jun, this is popcorn theatre: we could go on watching and watching – ★★★★ The Guardian
Entertaining, keenly observed piece that believably depicts the experiences of many first-and second-generation immigrants –★★★★ The Stage
Kim’s Convenience is a store of wisdom – ★★★★ Financial Times
The rest of the cast taking this familial story on tour is soon to be announced
Kate Horton and Nica Burns today announce the world premiere of Mike Bartlett’s new play Unicorn, directed by James Macdonald, starring Nicola Walker (Polly), Stephen Mangan (Nick), and Erin Doherty (Kate). Unicorn will debut at the Garrick Theatre in the West End from 4 February for strictly limited run until 26 April2025.
Polly and Nick have it all. Happily married, two children, successful careers. And yet there’s something missing…something rare and unforeseen…waiting to add a much-needed sparkle…
Unicorn is Mike Bartlett’s explicit, funny and provocative new play, starring Nicola Walker (Unforgotten, The Split), Stephen Mangan (The Split, Episodes) and Erin Doherty (The Crown, Chloe).
Nicola Walker said, “Mike Bartlett’s Unicorn is that rare beast you long to see, it’s grown-up and unusual and very, very funny.”
Stephen Mangan said, “I would have needed my head examined if I’d passed up the opportunity to be involved in this play by the brilliant Mike Bartlett. It’s hilarious, provocative, intelligent and deeply moving. And it’s being directed by the peerless James Macdonald. And Erin Doherty is in it. As is my old friend and TV ex-wife Nicola Walker. It’s just an embarrassment of riches.”
Erin Doherty said,“To get to work with Nicola Walker and Stephen Mangan is a massive moment for me. Combine that with this genius team and this brilliant play, I’m ecstatic. I can’t wait to get in the rehearsal room.”
Mike Bartlett said, “Kate Horton has championed Unicorn from the moment she read it, and I’m thrilled it will be the first play her new company produces. I’m so happy to get the chance to get to work with James Macdonald and Miriam Buether again, and with the incredible Nicola Walker, Stephen Mangan and Erin Doherty – all superb actors I’ve been a fan of for a long time.”
James Macdonald said, “I’m delighted to be embarking on my third play with Mike, after the joys of Cock and Wild! And to be doing so in the company of a peerless trio of actors – not to mention the most brilliant design team…”
Kate Horton said, “It’s a rare day when a play as exceptional as Mike Bartlett’s Unicorn arrives and I’m overjoyed to be reuniting with Mike and the equally magnificent James Macdonald to deliver its world premiere. Our extraordinary cast, Nicola Walker, Stephen Mangan and Erin Doherty will each bring their own unique brilliance to originating Polly, Nick and Kate. It feels completely right to launch my new company with a new play and I am thrilled that such a fantastic combination of talents have come together to bring it to life for audiences. I’m especially grateful to my co-producers who have assembled for this production so enthusiastically – Keren Misgav for Norel Productions, Tilted, Rupert Gavin and Mallory Factor – and especially Nica Burns, who has always been a great champion of the new, of the theatre industry and of me.”
Nica Burns said, “When Kate Horton sent me Mike Bartlett’s new play, I read it overnight, loved it and offered her the Garrick immediately. I knew that such a good play would attract a top line director and cast – and it has. We are blessed with three remarkable leading actors in Nicola Walker, Stephen Mangan and Erin Doherty who will be brilliantly guided by their talented director, James Macdonald. I have long admired Kate’s work as a producer and I am delighted to be co-producing with her under her banner, Kate Horton Productions.”
Unicorn sees James Macdonald, Mike Bartlett and Kate Horton reuniting following their collaboration on the original production of Cock at Royal Court in 2009.
Joining director James Macdonald is designer Miriam Buether, lighting designer Natasha Chivers and sound designer Ian Dickinson.
Unicorn is produced by Kate Horton Productions and Nica Burns, Norel Productions and Tilted, in association with Rupert Gavin and Mallory Factor.
Nicola Walker, originates the role of Polly. Theatre includes: The Corn Is Green (National Theatre), The Cane (Royal Court), A View From The Bridge (Young Vic, Wyndham’s & Lyceum Theatre New York), The Curious Incident Of The Dog In The Night-Time (Olivier Award for Best Supporting Actress), Season’s Greetings, Gethsemane, Tales From The Vienna Woods and Edmond (all National Theatre), Di And Viv And Rose(Hampstead Theatre), Mrs KleinandCloud Nine(both Almeida), Relocated, Fresh Kills, Sweetheart, The Libertine/The Man Of Mode, Hated Nightfall (all Royal Court), Modern Dance For Beginners (Soho Theatre), The Dead Eye Boy (Hampstead), Sexual Perversity In Chicago (Sheffield Crucible), A Lie Of The Mind(Donmar),Passion Play(Donmar & Comedy) andFifty Revolutions(Whitehall).Television includes:Mary & George, Annika, Marriage, Unforgotten: Series I-Iv, The Split: Series I – Iii, Collateral, Inside No. 9, River, Last Tango In Halifax: Series I-V (two BAFTA Best Supporting Actress nominations), Babylon, Scott And Bailey, Prisoner’s Wives, Heading Out, Inside Men, Spooks Series II-V & VIII-X, Being Human, Law & Order, Luther, Turn Of The Screw, Oliver Twist, Torn, Broken News, People Like Us, The Last Train, Touching Evil Series I-Iii, Chalk, A Dance To The Music Of Time, Milner, Faith and Moll Flanders. Film:Shooting Dogs, Shiner, Four Weddings And A Funeral. Nicola will appear in The Split: Barcelona which will be screened later this year.
Stephen Mangan, originates the role of Nick. Stephen’s extensive theatre credits include Much Ado About Nothing (Playhouse), Hay Fever(Savoy), The School for Scandal(RSC), Noises Off(Piccadilly), Jeeves and Wooster in Perfect Nonsense(Duke of Yorks), The Norman Conquests(Old Vic and Broadway, TONY nominated), Rules for Living(National Theatre), Birthdayand The People are Friendly(both Royal Court), The Birthday Party (Harold Pinter), The Man in the White Suit (Wyndham’s), A Christmas Carol(Old Vic) and most recently Private Lives(Donmar Warehouse). He made his breakthrough television performance as ‘Adrian Mole’ in the BBC series Adrian Mole: The Cappuccino Years. This was closely followed by his appearance in Channel 4’s Sword of Honour alongside Daniel Craig and as Dan Moody in I’m Alan Partridge. He is arguably best known for his role as ‘Guy Secretan’ in the BAFTA-winning British sitcom Green Wing. He starred as ‘Keith’ in sitcom Never Better, in romantic dark comedyFree Agents with Sharon Horganand as the title role in Dirk Gently for the BBC. Stephen’s feature role as Sean Lincoln in the much-loved British/American TV comedy Episodescame to an end in 2017 with the fifth and final series. Most recently, Stephen reprised his role as Nathan Stern in Bafta-winning writer Abi Morgan’s The Split for BBC One, with new episodes being broadcast later this year. He is also familiar to Sky Arts presenting the hugely successful series Portrait Artist of the Yearand Landscape Artist of the Year. Both shows set records for the biggest audiences recorded for Sky Arts. Stephen played Arthur Conan Doyle in FOX’s miniseries Houdini and Doyle opposite Michael Weston and in 2018 starred in Hang Ups, a series he also co-wrote and produced for Channel 4. The cast included David Tennant, Jessica Hynes and Charles Dance. He has also starred in the SKY One comedy Bliss written and directed by David Cross. Most notably on the big screen, Stephen played ‘Alastair Caldwell’ in Rush, alongside Chris Hemsworth as Hunt. Further film credits include Breathe, Billy Elliot, Festival, Birthday Girl, A Gaza Weekend and Postman Pat, voicing the titular role. He will publish his seventh children’s novel next year.
Erin Doherty, originates the role of Kate.
Erin is one of the most talented and respected actors of her generation, playing leading roles across film, television and theatre. Erin is best known for her break out performance as Princess Anne in Netflix’s The Crown. Erin was a 2018 Screen International Star of Tomorrow and a 2018 Evening Standard Rising Star. In 2020, Erin was honoured at the Newport Beach Film Festival as a ‘Breakout Honouree’ following her role of Princess Anne. Doherty most recently played the lead in upcoming Disney Plus series A Thousand Blows. Earlier this year Erin starred in Death of England: Closing Time in the West End @sohoplace. In 2022 Erin appeared at the National Theatre leading the cast of The Crucible as Abigail Williams. Erin played the lead in BBC One/Amazon Prime thriller series Chloe, which garnered five star reviews and critical acclaim for Erin. Erin will next be seen in new feature film Firebrand, opposite Jude Law, and in feature film Reawakening opposite Juliet Stevenson, both of which will have a theatrical release this year. Erin attended the Bristol Old Vic Theatre School, playing a range of leading roles during her three years of training. During this time, Doherty was selected to take part in the professional production of Pink Mist at the Bristol Old Vic, and was the winner of The Stephen Sondheim Society Student Performer of the Year 2015. Her debut performance upon graduation in 2015 was as Laura in Ellen McDougall’s The Glass Menagerie, after which Doherty was cast as Tamsin in Katherine Soper’s debut play Wish List (2016) at Manchester’s Royal Exchange and London’s Royal Court Theatre. Her performance was recognised by the Manchester Theatre Awards, naming Doherty as Best Actress in a Studio Production 2017. In 2017, she appeared as Fiz in BAFTA Award-winning writer Jack Thorne’s Junkyard, which earned her rave reviews: “Doherty is the star here, and by rights will soon be a star full-stop” WhatsOnStage. Later that same year, she took on the leading role in Ayckbourn’s The Divide at the Edinburgh International Festival, remounting it early in 2018 at London’s Old Vic Theatre. The Telegraph noted her “luminous central performance”. Also in 2017, Doherty received high critical acclaim in The Young Vic’s production of the one woman show My Name Is Rachel Corrie. The Guardian applauded her stunning performance, marking her out as “one of the year’s great discoveries”. Doherty closed 2017 with a run at London’s Old Vic Theatre, playing the leading role of Belle opposite Rhy Ifans’ Scrooge in Matthew Warchus’ production of A Christmas Carol. In 2019 Doherty was once again on stage in Wolfie at Theatre 503. Doherty’s inaugural television role was as a guest star in the BBC’s Call The Midwife in 2016, followed by the BBC adaptation of Les Miserables in 2018 before landing the role of Princess Anne in Netflix’s world-wide hit series The Crown.
Mike Bartlett
A multi-award-winning writer for both stage and screen.
Theatre includes: Scandaltown (Lyric Hammersmith Theatre); The 47th (The Old Vic); Cock (The Ambassadors’ Theatre/Royal Court); Mrs Delgado (Arts at the Old Fire Station/Theatre Royal Bath/Oxford Playhouse); Albion, Game (Almeida); Snowflake (Arts at the Old Fire Station); Wild (Hampstead Theatre); King Charles III (Almeida Theatre/Wyndham’s Theatre/Music Box Theatre, New York) which won an Olivier Award for Best New Play; An Intervention (Paines Plough/Watford); Bull (Sheffield Theatres/Off Broadway/Young Vic); Medea (Headlong/Glasgow Citizens/Watford/Warwick); Chariots of Fire (Hampstead Theatre/Gielgud Theatre); 13 (National Theatre); Decade (Headlong); Earthquakes in London (Headlong, National Theatre); Love, Love, Love (Paines Plough / Plymouth Theatre Royal/Royal Court/Roundabout Theatre Company, New York/Lyric Hammersmith Theatre);Contractions (Royal Court/Crucible Theatre, Sheffield); My Child (Royal Court); Artefacts (Bush Theatre/ Nabokov). Mike has previously been Writer In Residence at the National Theatre and is currently an Associate Playwright at the Royal Court Theatre. Television includes: Life, Doctor Foster SE2, King Charles III, Doctor Foster SE1 (Drama Republic/BBC); Sticks and Stones, Trauma (Tall Story Pictures/ITV); Press (Lookout Point/BBC).
James Macdonald
He was Associate Director at the Royal Court from 1992 to 2006. Productions there have included: What If If Only, Glass. Kill. Bluebeard. Imp, One for Sorrow, Escaped Alone, The Children, The Wolf from the Door, Circle Mirror Transformation, Love and Information, Cock, Drunk Enough to Say I Love You, Dying City, Fewer Emergencies, Lucky Dog, Blood, Blasted, 4.48 Psychosis, Hard Fruit, Real Classy Affair, Cleansed, Bailegangaire, Harry and Me, Simpatico, Blasted, Peaches, Thyestes, Hammett’s Apprentice, The Terrible Voice of Satan and Putting Two and Two Together.His work at the National includes: Infinite Life, The Welkin, John, Dido Queen of Carthage, The Hour We Knew Nothing of Each Other and Exiles. Theatre work in New York includes: True West, The Children and Top Girls on Broadway; Escaped Alone and John Gabriel Borkman at BAM; Infinite Life and Cloud Nine at Atlantic Theater; Cock at The Duke; Love and Information and A Number for New York Theatre Workshop; King Lear, The Book of Grace and Drunk Enough to Say I Love You at the Public Theater; Dying City for the Lincoln Center Theater; and 4.48 Psychosis at St Anne’s Warehouse.In the West End: Waiting for Godot, Night of the Iguana, Who’s Afraid of Virginia Woolf?, The Father, Glengarry Glen Ross and The Changing Room.And elsewhere: Boys on the Verge of Tears at Soho Theatre, The Cherry Orchard for Yard Theatre/ETT, Dolls House Part Two,The Way of the World and Roots for the Donmar; Bakkhai, A Delicate Balance, Judgment Day and The Triumph of Love at the Almeida; The Chinese Room for Williamstown Theater Festival; Wild, And No More Shall We Part and #aiww – The Arrest of Ai Weiwei at Hampstead; The Father at Bath and the Tricycle; John Gabriel Borkman at the Abbey, Dublin; The Tempest and Roberto Zucco for the RSC; Troilus und Cressida and Die Kopien at Schaubühne, Berlin; 4.48 Psychose at Burgtheater, Vienna; Love’s Labour’s Lost and Richard II at the Royal Exchange. Opera includes A Ring A Lamp A Thing at Linbury Studio; Eugene Onegin and Rigoletto at Welsh National Opera; Die Zauberflöte at Garsington; Wolf Club Village and Night Banquet at the Almeida; Lives of the Great Poisoners for Second Stride.Film includes A Number for HBO/BBC.
Festival Theatre, Malvern – until 16th November 2024
Reviewed by Courie Amado Juneau
5*****
Agatha Christie is like visiting an old friend. And Poirot is, arguably, her greatest and most beloved creation. As Poirot alludes to in the opening of tonight’s play, Murder On The Orient Express was his greatest case that demanded much soul searching and made him question his core beliefs.
A murder is committed on the eponymous train, which gets snowed in whist journeying from Istanbul to Paris and Agatha’s great detective is on said train, returning home after another case which tested him greatly, so gets called upon in his professional capacity to solve the crime.
Poirot is often a tough act to pull off to everyone’s satisfaction. Like Doctor Who, one loves “their” version. For many, David Suchet’s portrayal was so perfect that getting past that alone is a mammoth task! So it’s perhaps wise that this Poirot stays at a discreet distance from that iconic version. I wasn’t sure at first whether I liked Michael Maloney’s reading of the character but I was 100% won over in the end, especially with some barnstorming emotional acting in the denouement. His thoroughly enjoyable and creditably nuanced performance carried the work to a powerful conclusion.
The rest of the cast also gave fine performances and were obviously having a ball throughout – especially given the infectious seam of humour that ran through the piece. Poirot was sent up beautifully and many of the more subtle (and not so subtle) laughs were provided by a marvelous performance from Bob Barrett (as Monsieur Bouc). But everyone had their moments and the strength of this touring version is in the ensemble as a whole.
I really enjoyed the sumptuous costumes that provided glamour aplenty and effectively conveyed the characters personalities themselves. The stage design was boldly rendered with some inventive modular pieces doubling for train berths, carriageways and a dining room! The switches form one space to another also gave the opportunity to bring motion into what is a rather confined, static environment on the page. All that said, the claustrophobia of the original story was nicely conveyed too! Impressive stuff.
Music gave us a powerful backdrop too and I’m presuming that it was original music composed by Sound Designer Mic Pool as I didn’t recognize it. Last, but by no means least, a mention for the lighting and fog/steam which was so well deployed that it was almost a character in its own right. Poirot’s last moments on stage gained enormously from these elements – giving the entire work a poignant conclusion that felt absolutely perfect and totally satisfying.
Christie is always a joy but perhaps people think it not worth making the effort to venture out on a cold wintery evening just to see yet another one. Well, when the story is done so well as it was tonight, when the cast is this good and when the telling gives us a new slant we haven’t seen before (courtesy of Adapter Ken Ludwig and Director Lucy Bailey), I’d say that it’s not just worth it but nigh on essential viewing. Bravo to all concerned for a show trés magnifique.
