Welcome to the annual Scout Games! Scouts from around the world have gathered to compete but when an intruder threatens to sabotage the competition, it is up to Joe and Eliza to put aside their rivalries and use their newfound skills to save the day! Created in partnership with the Scouts, multi-award winning Gigglemug Theatre (A Jaffa Cake Musical, RuneSical, Timpson: The Musical) are taking their smash hit, actor-musician led musical comedy on tour throughout June. This family friendly show sold out its initial run at The Other Palace in 2023, where it received a WhatsOnStage Award Nomination for Best OffWest End Production and was described by former Chief Scout Bear Grylls as ‘Incredible!’.
An utter masterpiece ★★★★★ BOX OFFICE RADIO A comedic triumph ★★★★★ WEST END EVENINGS A fun adventure that will delight audiences of all ages ★★★★★NORTH WEST END
For its final ever run, the production will tour to The Crescent Theatre, Birmingham from 3rd – 7th June; The Hope Mill Theatre, Manchester from 10th – 15th June; Upstairs at the Gatehouse, London from 18th – 22nd June; The Egg Theatre, Bath from 26th – 29th June. Tickets are available here: https://linktr.ee/ScoutsTheMusical
Joining the company are Eleanor Fransch (You’re A Good Man, Charlie Brown, Alice in Wonderlandat The New Vic) as Eliza and Burhan Kathawala as Joe. Returning to the production are Kemi Clarke (Beautiful: The Carole King Musical, The Gruffalo) as Scout Leader Dylan, Katie Pritchard (A Jaffa Cake Musical) as Rosie, Emily Kitchingham as Charlotte & Rob Gathercole (Faking Bad) as Luke/Linus Lionheart. Heather Gourdie completes the cast as Narrator/Swing. Music & Lyrics are by David Fallon with Book & Lyrics by Sam Cochrane, who is also the Director. Musical Direction is by Rob Gathercole.
As part of their Summer Season, Gigglemug will also return to the Edinburgh Fringe this year with A Jaffa Cake Musical which sold out its entire run at last year’s festival, receiving over thirty 4 & 5 star reviews.
This Easter, Cinderella at St Helens Theatre Royal delivers a spectacular and thoroughly entertaining panto bursting with colour, comedy, and heart. Directed by Chantelle Joseph, with musical direction from Callum Clarke and choreography by Nazene Langfield, this production is as polished as it is playful.
Lewis Devine returns as the lovable Buttons and absolutely steals the show. His quick wit, boundless energy, and warm connection with the audience make him the standout of the night. Kimberly Hart-Simpson brings charm and sincerity to the title role, while Ben Keith is every inch the dashing Prince Charming. Conor Barrie adds great comic flair as Dandini, bouncing off the others with ease.
Rachael Wood shines as the Fairy Godmother, especially during a stunning duet of Love Lift Us Up Where We Belong with Buttons. Their powerhouse vocals brought the house down and proved one of the evening’s true highlights.
Shania Pain and Richard Aucott are hilariously grotesque as the Ugly Sisters, hilariously named Ozempic and Mounjaro. Their Lidl and Aldi-inspired costumes were an audience favourite, and their outrageous antics delivered constant laughs. The script is peppered with adult innuendo, but remains entirely suitable for kids, striking the perfect panto balance.
Most of the cast are familiar faces to the St Helens stage, and their chemistry is evident. The show feels like a homecoming, with a comfort and confidence that only comes from a well-loved team. The production values are impressively high: slick set changes, colourful lighting, and well-timed pyrotechnics all elevate the spectacle.
The ensemble, featuring talented performers from Dynamix Performing Arts College and the Nazene Danielle School of Performing Arts, dazzled in every number. A wide range of dance styles was showcased, with Owen Doolan excelling as dance captain. Their precision and energy added depth and dynamism to every scene.
Nazene Langfield’s choreography is sharp and varied, matching the pace of the show perfectly. Whether it’s high-energy group routines or more emotional moments, the dance work throughout was strong, stylish, and engaging.
Visually, the production delivers classic panto magic, with standout moments including a glittering transformation scene and clever use of special effects. The balance of tradition and modern humour keeps things fresh, and there’s a real community feel that sets this panto apart.
Cinderella at St Helens Theatre Royal is a joyous Easter treat — flamboyant, funny, and packed with heart. With a talented cast, high production values, and plenty of laughs, it’s a show that delights all ages. Get your tickets and don’t miss out on this heartwarming Easter treat.
For one night only Velma Celli is performing at the Sheffield Playhouse. And what a night it is! Velma (Ian Stroughair) probably couldn’t pick a better theatre venue than the Playhouse. It is small, intimate and the audience are able to get up close and personal, which works wonders with the ambience of the show and extremely useful for the audience participation, which there is plenty of.
Velmas entrance is spectacular as her energy bursts through the side curtain, she is colourful, charismatic and sparkly, donned in large sequins, all over her dress. Straight into the audience as she performs her first number, the audience giggling along right from the off…’what’s your name’ she asks a man on the front row, just as he is about to answer ‘nobody cares’, getting an even bigger laugh.
Velma takes us on her true-life story through growth and experiences of drag and the story of coming out, which resonates throughout the audience. She loves to mention her times in a previous life of performing on some famous musicals on the West End and what a career history she has had, being in Cats, Rent and many more well-known, widely loved shows. There are stories of meetings with famous people, past drag experiences, lots of monumental moments in life which the audience can relate to. This is always a great way of drawing the audience in to feel comfortable and who doesn’t love to feel nostalgic?
There are many musical numbers, all which have their own tale wrapped around it to give that extra bit of meaning and some emotional pieces, including a beautiful rendition of a song from Taboo – written by Boy George, one of Velmas idols. Some more stand out pieces of music are, I’ll Cover You from Rent, I Want to Break Free by Queen, Under Pressure, Sweet Transvestite from The Rocky Horror Show and her encore song which was ‘I Am What I Am’. All these numbers are sung beautifully, Velmas voice is pretty spectacular and never falters. Goosebumps galore!
There are not many performers that can walk on to a stage and entertain the way that Velma Celli does. Holding an audience for just over an hour is not an easy feat, but Velma smashes it and makes it look easy. Some people are just born to perform and that is true here…get to see Velma Celli if you can, a fantastic piece of theatre to make you smile, laugh and come away truly entertained.
As well as being the writer of this piece, Mark Farrelly (Quentin Crisp: Naked Hope, Howerd’s End, Jarman) has been performing The Silence of Snow since 2014, so it’s hardly surprising that he dons the role like a second skin. Though the performance opens with Hamilton seated, quiet and withdrawn in a medical robe, the fourth wall is rapidly demolished as Farrelly bounds into the aisles and gets up close to audience members. This shock to the system works well for him as their attention is readily surrendered, leaving Farrelly to congenially hold them in the palm of his hand to the last syllable.
Patrick Hamilton (1904-1962) was a British novelist and playwright whose name may not immediately ring a bell with you, but he inspired a term commonly used today that most certainly will: ‘gaslighting’ comes from the title of his play ‘Gas Light’ (1938), which also became a MetroGoldwyn-Mayer film that generated considerable box office numbers and high critical acclaim. Hamilton achieved success at an early age and was catapulted into the glitz of London theatre life in 1929 with his hit play ‘Rope’, later adapted for cinema by Alfred Hitchcock.
Farrelly guides us through Hamilton’s life, highlighting his background – a family of aspiring writers (“Even the cat was a novelist”), his fathers cumbersome ego, his mother’s suicide – the complex romantic relationships that inspired some of his novels, and the car accident that gave rise to his disdain of modern society. En route, Farrelly chronicles many of Hamilton’s writing achievements; fascinated by London life, much of this work was inspired by the sleaze and poverty shaping the complex characters of the infamous East End.
Hamilton’s own descent into alcoholism walks alongside throughout. Despite the many dark themes running through his life and work, Farrelly plays Hamilton with great empathy, enabling him to emerge as an engaging, humorous, and authentic soul. On seeing Patrick Hamilton brought back to life so definitively, one cannot help but be inspired to seek out his work and learn more about this fascinating writer who gained professional success but not personal stability.
As well as celebrating the life and works of Patrick Hamilton, Farrelly also uses The Silence of Snow to raise awareness of mental health issues and collect donations for MIND, raising over £15,000 in the process. This is in part attributed to the loss of a close friend, Tim Welling, to suicide, but becomes even more poignant when Farrelly reveals his own struggles with ‘the Black Dog’. I later learned that Mark’s inspiration for writing the piece came at a time he found some of Hamilton’s issues reflected in his own struggles. This made the writing of The Silence of Snow somewha hazardous to his mental health, as certain elements created a churning over of Farrelly’s own lived experience. However, as is often the case when we face our demons head on, Mark states that the exercise was ultimately cathartic. Perhaps this enabled him to.adopt the Hamilton code and ‘rise through’.
Hopefully, Mark Farrelly will continue to share this healing salve with future audiences, helping them connect to and make sense of their own challenges with his exceptionally warm interpretation of a talented but troubled man. Watch out for it.
PLAYHOUSE, LIVERPOOL – UNTIL SATURDAY 5TH APRIL 2025
REVIEWED BY MIA BOWEN
4****
Iqbal Khan’s production of Animal Farm is concluding its 2025 tour at the Playhouse in Liverpool this week, where I attended a packed-out premiere evening. This stage adaptation of George Orwell’s renowned novel is a powerful and thought-provoking portrayal of the allegorical tale in which a group of farm animals overthrows their human owner, Mr Jones, an irresponsible and alcoholic farmer. As the narrative unfolds, the farm transforms into an industrial abattoir where hard work goes unrewarded, the rich continue to amass wealth, and the poor only find further hardship.
George Orwell’s Animal Farm is often described as “probably the most popular and influential piece of literary propaganda in the English language.” Thus, creating a stage adaptation of this iconic work is a significant endeavour. Originally adapted for the theatre by Ian Wooldridge, the play closely mirrors Orwell’s critique of totalitarianism. It explores how leaders can manipulate ideals for their own gain, turning a revolution meant to liberate the oppressed into one in which the new rulers are just as oppressive as those who came before them. Although Orwell wrote the original novel in 1945, its themes remain strikingly relevant today, embodying the essence of Orwellian insight. Regrettably, it seems that little has genuinely changed since the story was first narrated.
The six-member cast is exceptionally skilled and talented, adept at portraying animals with a blend of humanity and their innate instincts, as well as seamlessly embodying multiple characters with diverse accents. A standout performance comes from Natalia Campbell, who plays Clover, a gentle yet strong-spirited horse. Her ability to convey Clover’s passion, even as the story’s events begin to take their toll, is remarkable; by the end, her defeat is truly heart-wrenching. Likewise, Sam Black’s portrayal of Boxer, the diligent horse, infused the stage with a sense of tragic nobility. His unwavering loyalty and sacrifice resonated deeply with the audience, leaving a lasting emotional impact.
The tone is established immediately with Ciarán Bagnall’s stark and chilling stage design, which symbolises the transformation of the farm and the oppressive atmosphere that intensifies as the pigs take control.
Animal Farm, offers a compelling, engaging, and frequently unsettling examination of politics, power, and corruption. If you appreciate intense political themes infused with dramatic elements, this production provides a gripping yet thought-provoking experience.
Windsor brings you the production of Just Between Ourselves, written by Alan Ayckbourn and directed by Michael Cabot.
Dennis (Tom Richardson) is always tinkering away in his garage – fixing things that are never really fully fixed and leaving his poor wife Vera (Holly Smith) dealing with his obsessive mother Marjorie (Connie Walker), the root of all their problems and who always feels the need to be judging Vera over every little thing she does, or doesn’t do for that matter, regarding her son Dennis and their home. It’s clear that Marjorie wants all the attention and to be in charge of her Son! Dennis on the other hand, has his head in the clouds trying to constantly fill his father’s shoes and gain his mothers love and respect. But with all the trying he is doing she loves to remind him often that he will never match his father! Unfortunately, the more effort he puts into trying to impress his mother, the more he fails to notice just how fragile his wife Vera is becoming and how she’s slowly heading down a path towards a mental breakdown!
Crossed wires and misunderstandings often occur between the couple, with Dennis’ moto that everyone just needs to laugh more to be happy along with his constant talking never letting anyone get a word or thought in. A clear disconnection between them is apparent.
During this time Dennis is trying to sell Vera’s car when Neil (Joseph Clowser) comes to take a look, as he wants to surprise his wife Pam (Helen Phillips) with a car for her birthday. Although Pam really isn’t bothered and doesn’t seem to share much of her husband’s enthusiasm on most things, including the car! As the conversation unfolds between the husbands a friendship is forged, and we see them celebrating birthdays in the company of both their wives and Dennis’s mother Majorie, who is forever in the background but always finding something to complain about whilst trying to take charge! During this time, we see much laughter and comedy.
As the friendship becomes stronger it is clear that we have two unhappy marriages over the 5 birthday celebrations, but will it end with a bang?!
I think during this production the actors showed great skill portraying mental health difficulties in the 1970’s. There were also many humorous moments, giving the show a well-balanced, relatable and honest quality that drew the audience in alongside the actors close connection that was clearly seen on stage.
Holly Smith played an extremely believable character just watching her nervously tremble and shake whilst holding a teacup upon her face a fake smile masking her true emotions every time her mother-in-law had an opinion!
The stage was also done extremely well with a house and its back door leading onto the garage, where a full sized green mini sits amongst all the chaos that happens around the stage. It looks great and worked extremely well.
This show was done fantastically, showing some hard-hitting topics and vulnerability which was delivered and portrayed respectfully on stage.
Eugène Ionesco’s Rhinoceros is a fantastically bananas satire originally written in 1959 in response to the spread of wartime facism. Fast forward to 2025, and Omar Elerian has translated (and directed) a new version. Set in rural France, an epidemic is sweeping through a small town and spoiler alert, it’s turning the community into rhinoceroses. Narrated by the “Provocateur” (Paul Hunter), the audience is immediately asked to participate. This is no ordinary theatre experience.
We first meet the central character of Berenger (Ṣọpẹ́ Dìrísù) at a cafe where he is meeting his friend Jean (Joshua Maguire). The rest of the cast create the scene through mime as stage directions are read aloud. Their discussion soon turns to an argument interrupted by various villagers dressed in white coats with wild and whimsical hairstyles including the grocer, a lady, and a logician. However, there is a rumbling (the cast gallop on the spot to create the surprisingly effective noise and dust) all around them as two rhinos thunder through the village. At first, all this sparks debate (did it actually happen?) and curiosity, but it soon becomes apparent that people are actually turning into rhinoceroses. A violent transformation artfully performed by Joshua Maguire complete with grey skin and a little tail. In the third act, things take a more serious turn as Berenger and his love interest Daisy (Anoushka Lucas) are holed up in his house, emotionally unravelling and surrounded by thundering feet and the sound of rhino calls. At this point the audience is the herd, and the call is a cacophony of buzzing kazoos conducted by the Provocateur.
There are lots of joyously madcap moments especially in the first half, and the clowning on display is top tier. John Biddle, Hayley Carmichael, Paul Hunter, Sophie Steer and Alan Williams provide much of the silliness as they rotate through several roles. Ana Inés Jabares-Pita’s set is a sparse white canvas; a space easily filled by the cast as they also produce many of the sound effects on stage, and hold props, cleverly creating beds, cafe tables, and office furniture. Ṣọpẹ́ Dìrísù is splendid as the deadpan everyman Berenger, who seems baffled to be taking part in the performance within a performance, but by the end he is a broken man, still resolute but the pain and isolation of his choices is palpable.
Rhinoceros is a fun and complex play with an important message. Thundering through themes of conformity, fascism, responsibility, herd mentality, and morality, the tone is upbeat and playful until it’s not. The performances are fantastic, and this avant-garde take on world events leaves you wondering to what extent you follow the herd.
The Studio Cast Recording of Jo – The Little Women Musical will be released globally on May 23, 2025
Jo – The Little Women Musical, a new musical adaptation of Louisa May Alcott’s iconic coming-of-age novel Little Women, with music by Dan Redfeld, book and lyrics by Christina Harding and John Gabriel Koladziej, will get a global release on Friday 23 May as a Studio Album recorded at London’s iconic Abbey Road Studios.
It features a mix of Broadway, West End and international stars and a 29-piece orchestra, produced by five-time Grammy nominee and three-time Emmy winner Nigel Wright and Dan Redfeld.
Tony Award® winner and five-time Tony Award® nominee Laura Benanti (Gypsy) is Marmee March; two-time Tony Award® winner Christine Ebersole (42nd Street) is Aunt March; Olivier nominated West End and Broadway star Julian Ovenden (South Pacific), Father; Grammy Award nominated Christine Allado (Hamilton) Jo March; two-time Tony Award® nominee Bob Gunton (Evita), Grandfather; West End star Kelly Mathieson (The Phantom of the Opera), Meg March; TV star Sophie Pollono (Young and the Restless), Amy March; Eleanor Grant (Avatar LIVE), Beth March; Rob Houchen (Titanique), Theodore “Laurie” Laurence; Chris Mann (The Phantom of the Opera), Professor Bhaer; Liam Tamne (Prince of Egypt), John Brooke; Tobias Turley (Mamma Mia!), Fred Vaughn; Miyuki Miyagi (Natasha, Pierre and the Great Comet of 1812), Sallie Gardiner.
The March sisters on the famous Abbey Road pedestrian crossing
Left to Right: Sophie Pollono, Eleanor Grant, Kelly Mathieson and Christine Allado
Photo Roger Alacron Photography, designed by Robert McKenzie
The album will be available on Friday May 23 on all platforms including Spotify, iTunes, Apple Music and Amazon Music.
Album pre-launch party events will be held in New York on Monday 19th May and in London on Thursday May 22nd featuring artists from the recording.
Album creative team: Dan Redfeld – Composer, Conductor, Orchestrator, Studio Album Co-Music Producer Christina Harding – Co-Lyricist & Book John Gabriel Koladziej – Co-Lyricist & Book JoAnn M. Hunter – Director Nigel Wright – Studio Album Co-Music Producer Brian Purcell – Executive Producer
Nigel Wright, Co-Music Producer said: “I have to say this album is glorious and a real highlight in my career. Simply stunning!”
Dan Redfeld, Composer and Co-Music Producer, said: “The Jo album is a magical listening experience. We are excited for the world to hear Jo and the brilliance of the studio cast and orchestra on this recording, which is literally the complete show. It has been a privilege to work alongside Nigel Wright and team Jo!”
The full show will be presented at a future date to be announced as a semi-staged concert in London, directed by JoAnn M. Hunter (20 Broadway shows to her credit as a Choreographer including Bad Cinderella and School of Rock).
Jo – The Little Women Musical studio album will be released by Center Stage Records, led by the Grammy Award and Tony Award® winning producer, Van Dean.
The March Family Left to Right: Kelly Mathieson, Christine Allado, Sophie Pollono, Laura Benanti, Eleanor Grant, Christine Ebersole, Julian OvendenLeft to Right: Liam Tamne, Rob Houchen, Bob Gunton, Tobias Turley, Miyuki Miyagi and Chris Mann
Photos by Roger Alacron Photography, Aidan Hall Photography, Lens by Lamar (Erin Lamar)
Jo – The Little Women Musical studio album track list
ACT ONEJanuary 1866 1. Prelude – Jo, Meg, Beth & Amy
December 1861 2. The Pickwick Portfolio – Jo, Meg, Beth & Amy 3. Journey – Jo
New Year’s Eve, 1861 4. A Ball Tonight – Company, Meg, Jo & Sallie 5. Scene Gavotte – Jo & Laurie 6. Waltz/A Ball Tonight Reprise – Laurie, Jo, Meg, Sallie & Company
1862 7. The Simple Truth – Meg 8. First Orchestral Interlude – John, Meg, Jo, Laurie & Amy 9. (A World of) Dreams & Figments – Amy 10. Little Women – Marmee, Meg, Jo, Beth & Amy 11. To Swear My Love to You – Meg & John 12. The Pickwick Portfolio (Reprise) – Jo, Beth, Amy & Meg 13. Can’t We Keep Pretending – Jo 14. Scarlet Fever (Scene) & A Prayer for Beth – Jo, Beth, Meg, Grandfather Laurence, Amy & Laurie 15. An Ode on Aunt March’s Urn – Aunt March, Laurie, Amy 16. Orchard House (Scene) – Marmee, Grandfather Laurence & Company 17. The Blessed Rose- Amy, Meg, Jo, Aunt March, Laurie, Grandfather & Company 18. Father’s Return – Beth, Grandfather, Jo, Aunt March, Laurie Meg, Amy, Marmee & Father 19. The Blessed Rose & Second Orchestral Interlude – Jo, Laurie, Beth, Father, Amy, Meg, Marmee, Aunt March, Grandfather Laurence & Company
Summer, 1865 20. The Heart of a Woman – Father 21. The Wedding & Journey Reprise Meg, John, Laurie, Jo, Amy, Marmee, Beth, Father, Laurie, Grandfather & Aunt March 22. Embrace the World /Little Women Reprise – Beth, Jo, Marmee & Father 23. The Life We’ll Know – Jo & Laurie 24. Fly Away – Jo ACT TWO
25. Entr’acte – The Jo Orchestra 26. Sincerely, New York – Company, Jo, Bhaer, Mrs. Kirke 27. The Tales That I Tell – Jo, Mysterious Soprano & Company 28. A Friend Like You – Bhaer & Jo 29. Between the Earth & Sky – Marmee, Beth & Meg 30. Heaven Sous Le Soleil – Aunt March, Fred, Amy, Laurie, Coco and The Countess & Company 31. Un Cocktail or Two… – Aunt March 32. The Argument – Laurie & Amy 33. No Turning Back – Laurie & Aunt March 34. Waltz (Reprise) – Jo & Bhaer 35. When Nighttime Falls – Bhaer & Jo 36. My Captive Heart – Amy & Laurie 37. Coming Home (Scene) – Father, Jo, Marmee, Beth 38. Moments – Beth & Jo
January, 1866 39. The Darkest Midnight /The Attic (Scene) – Jo, Bhaer & Marmee 40. This is Our Story – Jo 41. On the Platform (Scene) – Jo & Bhaer 42. Finale Ultimo – Jo, Bhaer & Company
The Arts Theatre in central Soho is a great venue for a night out, especially a night out in a pub! The Choir of Man has come back to London’s West end and has made the Arts Theatre its permanent home. The theatre has been around since 1927 and has an eclectic history. Over the years it has produced experimental shows including Samuel Becketts “Waiting for Godot” which had its world premiere here back in 1955.
The Choir of Man was created in 2016 by Nic Doodson and Andrew Kay over a pint in a beer garden. What has evolved from that pint is an energetic ball of feel good fun – a sell out sensation that has toured the world. Quite simply put – a group of men in a pub, talking, drinking and singing together. The show doesnt have a story as such – but promises a love letter which addresses music, human connections and the institution that is the great british pub. The play has a focus on mens mental health and has a charitable collaberation with CALM – the Campaign against living miserably.
You are invited to arrive at the theatre 1 hour before and enjoy a drink at the bar – what is unexpected is that the said bar is indeed the stage and becomes the central location of the show. As we near the start time, the cast members come onto the stage and mingle with the bar goers who are yet to take their seats, indeed there seems to be no urgency for them to leave.
Looking out from our circle seats, we have a great view. The cast are assembled in a line on the stage and the band are above them looking down, but as the night goes on band and cast move effortlessly around the building.
The choir is made up of 9 – Paul McArthur (Poet), Oliver Jacobson (Barman), George Knapper (Handyman), Benji Lord (Joker), David Booth (Romantic), Jason Brock (Romantic), Rob Godfrey (Beast), Ifan Gwilym-Jones (Maestro) and Toby Francis (Swing). Paul McArthur introduces us to the show and welcomes us to “The Jungle” – the name of the pub and the opening song.
During the 90 minute show, the audience are invited on stage, the cast walk around handing out free beer and catapult crisps into the audience. The songs are well-loved faviourites and everyone claps and sings along. The choir’s voices are outstanding. Accapella numbers are interspersed with full band numbers. A stand out song showing the full range of the choir’s reach was Sia’s Chandelier – no instruments but just beautiful voices haunting the audience. Songs ranged from Adele’s “Hello” through to “500 miles” by The Proclaimers – certainly a song for everyone could be found.
During the show we have meaningful monologues performed with passion by Paul McCarthur – his voice draws you into each story he is telling. Stories about each cast member, where their favourite pubs are and what home means to them. We feel like we are invited to know them individually and hear a little of their life off stage.
The performance is a toe-tapping extravaganza of fun and is over in the blink of an eye. At just 90 minutes with no interval, this really is a high energy show. You cannot help but smile and immerse yourself in the show – indeed you feel part of it, you are simply having a night out in your favourite bar.
I am sure this show will run and run and tour again – it is the perfect night out with friends and highly recommended. A 5 star night in the pub!
The Barn Theatre, Cirencester – until 10th May 2025
Reviewed by Josie Aburrow Smith
5*****
In the Mouth of the Wolf is another great Built By Barn production. It is based on the book by Michael Morpurgo and sensitively adapted for stage by Simon Read. This is the 6th book by Micheal Morpurgo that has been on the stage at the Barn Theatre.
It’s really important to remember when watching this that it is based on the true story of Micheal Morpurgo’s uncles.
The play starts with Francis being the subject of an episode of This is Your Life (this was a TV programme where guests were surprised with a presentation of their past). Francis then goes back through his past and how many people, some who are not with us anymore, shaped his life. Its starts with him as child and his relationship with his brother, Pieter, and his father. Francis becomes a dedicated pacifist and is very against war and killing. There is an event which occurs that will change the course of Francis life forever.
The 3 actors are outstanding. Francis is played by John Hastings. According to Michael Morpurgo he even has Francis’s shoulders. He faithfully portrays his character with dignity and integrity. Shaun McCourt is Pieter and a number of other characters. He is a dashing young man of the era. Helena Antoniou is Nan (Francis wife) and a wide variety of other people. She easily transitions between the roles with such skill that you hardly notice. One particular moment is the seamless motion in which she whips off her bridal veil and convincingly turns it into a baby.
The set was minimal with a few props which was very cleverly adapted for each scene. It effortlessly switched between being a school room, an aeroplane and many other different locations, this was designed by Yoav Segal. The lighting design, by Ryan Day, set the mood. Composition and sound design was by Ella Wahlström. The play is directed by Philip Wilson.
This play is a poignant reminder of World War II and some extraordinary characters who should not be forgotten.
Age Guidance: 8+ Smoke, haze, strobe lighting, gunshots and death (though I would suggest 10+ as they will have studied World War II at school so will have a better understanding)
