Author: FairyPoweredProductions

STELLAR NO LIMITS SONG-CYCLE CAST HEAD TO THE OTHER PALACE

NO LIMITS, an exciting, brand-new song-cycle by Sam Thomas featuring a stellar cast, will run in the Studio at The Other Palace from Monday 20^th April – Sunday 26^th April.  

NO LIMITS shatters the notion of falling behind in life and follows characters as they dare to believe in themselves and strive for a better tomorrow. A show with heart, humour and a message we should all take on board… “Know no limits!”

Following its successful run at Camden Fringe 2019, the show has grown bigger and better and is similar in concept to Songs for a New World but with a more “Pasek & Paul” sounding score. 

Accompanied by a live band.  Don’t miss out.  Runs for one week only. 

Join the fabulous cast…..

CAST:

Aoife Clesham; Maison Kelley; Georgia Gagen; Luke Bayer; Bree Smith; Michael Mather & Katie Ramshaw will be performing a host of catchy and relatable new tunes.  The show is will chime in particular with modern musical theatre lovers.

CREATIVES:

Music and Lyrics by Sam Thomas
Orchestration by Ben Jones
Direction by Amy Petts
Musical direction by Connagh Tonkinson
Assistant direction by Yusuf Niazi
Stage design by Justin Williams.

RUNS FROM: Monday 20^th April – Sunday 26^th April

TICKETS:

Tickets are £24 and are on sale online at: https://lwtheatres.co.uk/whats-on/no-limits-a-song-cycle/

Box Office: 020 7087 7900

Age Guidance: 16+ (contains strong language and sex references)

TWITTER: @NoLimitsMusical

FACEBOOK: www.facebook.com/NoLimitsSongCycle/

INSTAGRAM: https://www.instagram.com/nolimits.songcycle

WINNERS ANNOUNCED FOR ACTING FOR OTHERS’ GOLDEN BUCKET AWARDS 2020

Theatrical charity, Acting for Others today announces the winners for the Golden Bucket Awards 2020. The ceremony took place at the Prince of Wales Theatre and was hosted by Carl Mullaney. The awards celebrate the most supportive and successful fundraisers who have helped the charity raise £357,163 in the last twelve months both through bucket collections across UK theatres and a variety of events throughout the year.

The awards were attended by nominees and friends of the charity including Christopher Biggins, Richard Clifford, Brian Conley, Raj Ghatak, Irvine Iqbal, Sir Derek Jacobi, Bonnie Langford, Dame Monica Mason and Harriet Thorpe.

Stephen Waley-Cohen, said today, “We were delighted to see so many of our supporters at the Acting for Others’ Golden Bucket Awards today. They all play a great part in the work we do, just like our Ambassadors, who act as our extra eyes and ears to help us reach those in theatre world that need us the most.

A huge thank you to all of the theatre staff, performers and the wonderful general public, whose generosity fills the buckets. With a special thank you to the theatre managers, company managers and all of those performers up and down the country who make the curtain speech after the show. A magnificent £357,163 was raised in 2019, which enables us to help so many theatre workers in times of need through the 14 member charities.

Congratulations to all of the nominees and winners today and thank you to all our advocates nationwide for all you do for Acting for Others.”

FULL LIST OF WINNERS

IT STARTS WITH A SPEECH

Presented by Irvine Iqbal

This award is for those that made the speech night after night encouraging audiences to donate, making a huge impact during the Bucket Collections in 2019.

Winner: Ashley Zhangazha

FABULOUS FUNDRAISING AWARD

Presented by Harriet Thorpe

This award is for the most inventive way of fundraising for Acting for Others.

Winner: Richard Carson

SOCIAL BUTTERFLY

Presented by Raj Ghatak

This category is for those supporters that have spread the ‘Acting for Others’ message in person, on social media and always make a noise about our campaigns.

Joint Winners: Wendi Peters, Matthew Kelly and Harriet Thorpe

SUPERSTAR AWARD

Presented by Sir Stephen Waley-Cohen

This is the award for someone that has gone above and beyond with their support for Acting for Others.

Winner: Fernando Peire

FANTASTIC FRONT OF HOUSE AWARD

Presented by Christopher Biggins

The generosity and dedication from the theatre management and front of house staff are invaluable. They are there for us coordinating the team and ready with the collection buckets each night.

Winners: Phoenix Theatre

THE GOLDEN BUCKET AWARD – REGIONAL

Presented by Billy Differ

This is the regional theatre that raised the most in the 2019 theatre collections.

Winner: Edinburgh Playhouse – The King and I

THE GOLDEN BUCKET AWARD – LONDON

Presented by Sir Derek Jacobi

This is the London theatre that raised the most in the 2019 theatre collections.

Winner: The Prince of Wales Theatre – The Book of Mormon

Royal and Derngate, Northampton – until 21 March 2020

Reviewed by Megan Raynor

4****

‘Told by an idiot’ present The Strange Tale of Charlie Chaplin and Stan Laurel, the tale of the legendary figures of comedy on their voyage overseas from the UK to The Big Apple. True is the fact that these two men did venture across the sea in 1910, as part of Fred Karno’s music hall troupe, but this company as described by director Paul Hunter values ‘fiction over fact’ – an experimental but silent recipe of two comedy icons, a boat and bucket load of play.

Fleeting moments of Chaplin (Amalia Vitale) and Laurel’s (Jerone Marsh-Reid) past and future are woven into the piece in short sketches. We meet Charlie’s vibrant but deeply suffering mother Hannah (Sara Alexander) and are shot a glimpse of her and Charlie’s doting but complex relationship, concreted by their shared joy for music. Ollie is not forgotten about, with a pillow up the shirt and a small black square of tash stuck under his nose, Nick Haverson’s transition into embodiment of Hardy was effortlessly accurate and heart-warming. These interjections of past and future make for an incoherent structure, which at times was confusing to follow particularly with the very limited spoken words, but added to the company’s sense of false reality. Each sequence is to be appreciated as a separate entity.

Amalia Vitale’s Chaplin was exquisite; the vibrancy of her facial expressions, her subdued but charming addresses to the audience and the absolute lightness and precision she brought to the choreography made her a pleasure to watch. Sara Alexander likewise brought complete precision to her piano underscore (composed by Zara Rahman), a complex score synchronised effortlessly to the complex choreography – nothing less than slick. (I can also confirm that Alexander was scoring completely without sheet music after I made my Royal and Derngate debut as piano player #2)

Ioana Curelea’s multi-platform and multi-faceted staging provided the perfect playground to the farce. Sliding down the fireman’s pole, swinging in the wooden cabin beds, tumbling over the wooden decks; it was a piece almost always in motion, allowing the chosen moments of stillness to carry greater poignancy.

The Strange Tale of Charlie Chaplin and Stan Laurel is a charming escape, a step back in time to an era of comedy that values playfulness above all else.

CASTING ANNOUNCEMENT

STRICTLY COME DANCING‘S

KEVIN CLIFTON TO STAR AS SCOTT HASTINGS IN

2020/2021 UK & IRELAND TOUR

DIRECTED BY CRAIG REVEL HORWOOD

Former Strictly Come Dancing champion Kevin Clifton is to star in the 2020/2021 UK & Ireland tour of Baz Luhrmann’s smash hit Strictly Ballroom The Musical, playing the lead role of Scott Hastings. After seven glorious years on Strictly Come Dancing, last week Kevin announced his departure from the series and now he makes a full-time move into the world of musical theatre in a role that couldn’t be more perfectly suited.

Kevin Clifton said: “I’m beyond excited to be finally fulfilling a lifelong ambition to play Scott Hastings in Strictly Ballroom The Musical. When I was 10 years old I first watched the movie that would become my favourite film of all time. This is my dream role. Plus I get to work with Craig Revel Horwood again! I really can’t wait to don the golden jacket and waltz all over the UK from September this year in what’s set to be an incredible show!

The musical is based on the award-winning global film phenomenon, ‘Strictly Ballroom’, which inspired the world to dance. Directed by Craig Revel Horwood, this all-singing, all-dancing and all-glittering show is set to dazzle audiences once more with the new 2020/21 tour. Kicking off in Nottingham on 26 September, the musical will then waltz around the UK & Ireland before culminating in Reading in June 2021. Tickets are on sale now from strictlyballroomtour.co.uk

Kevin joined Strictly Come Dancing in 2013, performing in the final five times and was crowned Strictly Champion in 2018. He’s a world-class professional dancer, former Youth World Number One and four-time British Latin Champion and has won international open titles all over the world. After making his West End musical theatre debut in 2010 in Dirty Dancing, Kevin has starred in The Wedding Singer as Robbie Hart (Wembley Troubadour Park Theatre) as well as starring in the West End production of Rock of Ages as Stacie Jaxx.

Strictly Ballroom The Musical tells the beguiling story of Scott Hastings, a talented, arrogant and rebellious young ballroom dancer. When Scott’s radical dance moves see him fall out of favour with the Australian Federation, he finds himself dancing with Fran, a beginner with no moves at all. Inspired by one another, this unlikely pair gather the courage to defy both convention and their families – and discover that, to be winners, the steps don’t need to be strictly ballroom.

Featuring a show-stopping book by Baz Luhrmann & Craig Pearce, and bringing together a sublime cast of over 20 world class performers, Strictly Ballroom brings to life iconic songs, including Love is in the Air, Perhaps Perhaps Perhaps and Time After Time with dynamic and joyous verve. This tour will also feature some amazing new songs by internationally acclaimed artists including Sia, David Foster and Eddie Perfect. The show’s scintillating singing, dazzling dancing and eye-popping costumes will combine together to bring audiences a story of heart, comedy and drama, and promises to be an unforgettable night under the glitter ball.

This uplifting and courageous musical originated as a stage play that Baz Luhrmann devised with a group of classmates at Sydney’s National Institute of Dramatic Art in 1984. Eight years later he made his screen directorial debut with ‘Strictly Ballroom’, the first instalment in Luhrmann’s acclaimed Red Curtain Trilogy. The vibrant film enjoyed staggering success, winning three awards at the 1993 BAFTA awards and a 1994 Golden Globe nomination for Best Picture, going on to become one of the most successful Australian films of all time, earning more than $80 million at the box office. In April 2014 Strictly Ballroom The Musical had its world premiere at the Sydney Lyric Theatre.

Baz Luhrmann’s Strictly Ballroom The Musical is a fabulous, feel-good evening full of sequins, singing and salsa. This unmissable kaleidoscope of glitz and glamour is a tonic for the soul and will send your heart soaring and toes tapping long after you leave the theatre!

STRICTLY BALLROOM THE MUSICAL – 2020 TOUR DATES

26/09/2020 – 03/10/2020 Nottingham Theatre Royal

05/10/2020 – 10/10/2020 Wolverhampton Grand

12/10/2020 – 17/10/2020 Hull New Theatre

20/10/2020 – 24/10/2020 Milton Keynes Theatre

26/10/2020 – 31/11/2020 Sunderland Empire

02/11/2020 – 07/11/2020 Bristol Hippodrome

09/11/2020 – 14/11/2020 Bromley Churchill Theatre

16/11/2020 – 21/11/2020 Edinburgh Playhouse

23/11/2020 – 28/11/2020 York Grand Opera House

30/11/2020 – 05/12/2020 Salford The Lowry

21/12/2020 – 02/01/2021 Guildford G Live

STRICTLY BALLROOM THE MUSICAL – 2021 TOUR DATES

04/01/2021 – 09/01/2021 Northampton Royal & Derngate

11/01/2021 – 16/01/2021 Southend Cliffs Pavilion

18/01/2021 – 23/01/2021 Norwich Theatre Royal – On sale soon

25/01/2021 – 30/01/2021 Llandudno Venue Cymru

01/02/2021 – 06/02/2021 Aylesbury Waterside

08/02/2021 – 13/02/2021 Darlington Hippodrome

15/02/2021 – 20/02/2021 Newcastle Theatre Royal

22/02/2021 – 27/02/2021 Wimbledon New Theatre

01/03/2021 – 06/03/2021 Bournemouth Pavilion

08/03/2021 – 13/03/2021 Dublin Bord Gais – On sale soon

15/03/2021 – 20/03/2021 Derry Millennium Forum Theatre

22/03/2021 – 27/03/2021 Aberdeen His Majesty’s Theatre

29/03/2021 – 03/04/2021 Peterborough New Theatre

05/04/2021 – 10/04/2021 Cardiff Wales Millennium Centre

12/04/2021 – 17/04/2021 Sheffield Lyceum – On sale soon

19/04/2021 – 24/04/2021 Glasgow Kings Theatre

26/04/2021 – 01/05/2021 Liverpool Empire

03/05/2021 – 08/05/2021 Canterbury Marlowe

10/05/2021 – 15/05/2021 Birmingham Hippodrome

17/05/2021 – 22/05/2021 Plymouth Theatre Royal – On sale soon

24/05/2021 – 29/05/2021 Blackpool Opera House

31/05/2021 – 05/06/2021 Bradford The Alhambra Theatre – On sale soon

07/06/2021 – 12/06/2021 Southampton Mayflower

14/06/2021 – 19/06/2021 Ipswich Regent

21/06/2021 – 26/06/2021 Reading The Hexagon

MORE TOUR DATES WILL TO BE ANNOUNCED SOON

Listings information:

Website: strictlyballroomtour.co.uk

Instagram: @strictlyballroomtouruk

Facebook: @strictlyballroomtouruk

Twitter: @sbtourUK

SOMETHING WICKED THIS WAY COMES…

ULTIMATE SHOWMAN JOHN BARROWMAN TO STAR IN THIS YEAR’S UNMISSABLE PANTOMIME AT THE BRISTOL HIPPODROME

The Bristol Hippodrome has announced that the much-loved actor, singer, presenter, author, judge and all-round showman John Barrowman will headline this year’s spectacular family pantomime as the Wicked Queen in Snow White and the Seven Dwarfs from Saturday 5 December for a strictly limited four-week season.

On television, John has presented and appeared on numerous programmes and was most recently a popular contestant on the 18th series of I’m a Celebrity…Get Me Out of Here! Having also appeared in the first ever series of ITV’s Dancing on Ice, John most recently returned to the rink as a judge alongside Jayne Torvill, Christopher Dean and Ashley Banjo, a role he will reprise when the hit show returns for its 13th series in January 2021.

The star of numerous musicals, both in the West End and on Broadway, John has appeared in legendary productions including Anything Goes opposite Elaine Paige, Sunset Boulevard with Betty Buckley, The Phantom of the Opera, Miss Saigon, Beauty and the Beast, Chicago and The Fix, for which he was nominated for a Lawrence Olivier Award for his performance. Snow White and the Seven Dwarfs will also see John return to wearing heels having also starred in the revival of La Cage aux Folles in London where he played the dual role of Albin and Zaza to great critical acclaim.

As an actor John is best-known for his iconic role as Captain Jack Harkness in Doctor Who for the BBC, a role that proved so popular he became the leading role in its spin-off series, Torchwood, which made John a household name. He has also starred in Desperate Housewives and as Malcolm Merlyn in the acclaimed US television shows Arrow , Flash and Legends of Tomorrow, based on the DC Comic. He also appears in the feature films De-Lovely , The Producers and Zero Dark Thirty.

As a recording artist, John released numerous hit albums, including the hugely popular ‘Another Side’ and ‘Music, Music, Music’, and his most recent festive recording ‘A Fabulous Christmas’. He has also toured his albums extensively across the UK and features on several original cast recordings. John also released two autobiographies, Anything Goes and I Am What I Am, and released hugely popular works of fiction including Captain Jack and the Selkie, based on his popular Torchwood character, The Dark Archer for DC comics and the fantasy novels Hollow Earth, The Bone Quill, The Book of Beasts and Conjuror, a young adult series he writes with his sister Carole Barrowman.

This year’s pantomime marks John’s triumphant return to panto-land, having starred in numerous festive productions for producers Qdos Entertainment, including a record-breaking five years at Glasgow’s SEC and, more recently, playing the title role in Dick Whittington at Birmingham Hippodrome and Manchester Opera House.

Snow White and the Seven Dwarfs will see John strut his stilettos as panto-land’s ultimate villain, the Wicked Queen, who will dazzle in an array of stunning costumes and show Bristol his real mettle as he tries to outwit the fair Snow White and prove to the world that he is the fairest of them all.

Qdos Entertainment Managing Director Michael Harrison said: “Without any doubt, John is one of the UK’s most talented and best-loved showmen. Not only can he sing, dance and act, he’s wonderful in pantomime, and we can’t wait to work with him once again.”

John Barrowman said: “I am thrilled to be starring in Snow White this Christmas, and especially delighted and pleased to be able to perform in Bristol at the Hippodrome. I have family in Bristol and it will feel just like home. I can’t wait to dig out the heels and be a Fabulous Wicked Queen”.

Tickets for Snow White and the Seven Dwarfs are selling fast, so audiences shouldn’t leave it any longer to secure their seats for this year’s unmissable Hippodrome panto, or they won’t be able to look themselves in the mirror!

Opera House, Manchester. – until 17 May 2020

Reviewed by Sally Hopper

5*****

GREAT SCOTT! If I could give this show more than 5 stars I absolutely would do in a heartbeat! WHAT AN INCREDIBLE SHOW!

The actors in this production were all incredible! In moments I thought that they had really used the DeLorean and gone back in time to retrieve a young Michael J Fox to play Marty, Olly Dobson was amazing. He sounded, looked and even had the mannerisms of Marty, the portrayal was so well done I don’t think anyone else could have done a better job. Alongside Doc played by Roger Bart they made an incredible team, Doc who was just as mad and hilarious as he is in the movie. Leading the crowd to simultaneously howl in hysterics and chant those famous lines from the movie together as if it was a cult meeting “ROADS… WHERE WE’RE GOING WE DON’T NEED ROADS”.

For me my favourites were George Mcfly played by Hugh Coles, he was cringingly awkward but yet adorable in his own way. The gangly and puppet like dancing was both side-splitting and charming at the same time and the moment he stands up to his bully Biff had the whole crowd cheering for him. My other favourite would have to be GOLDIE WILSON!! Played by Cedric Neal his voice filled the room, the words in ‘Gotta Start Somewhere’ potentially resonating with the crowd, his performance was perfect.

Another thing that certainly needs to be mentioned would be the set itself, every last detail was considered and worked SEAMLESSLY. It was almost like a board game where everything could move, slide and spin in whatever way was necessary and the screen that dropped in front giving us the effect of drivin’ 88 and through time to the rain in the last storm scene to get Marty back to 1985, was so realistic that I thought it really was raining on stage. I can’t talk about the stage and set without mentioning the DeLorean. All talking, smoking, fiery and beautiful, there’s not much more I want to say about it apart from the ending, flipping it around 360° with both Doc and Marty inside was incredible.

As a great lover of the 50’s dresses and rockabilly style I have to address the costumes, they were all fantastic! Switching between the 80’s fashion of bright colours and big hair to the swing dresses and bouffant hair all of the actors and dancers looked the part of the decade they were in. I’m also now wanting to search high and low for the outfits in the 21st century song in Doc’s dream sequence.

Now I need to go find myself a flux capacitor and a DeLorean to go back in time and watch this show over and over again. I would recommend EVERYONE go see this show. It was OUTSTANDING!

Cambridge Arts Theatre, Cambridge – until 14 March 2020

Reviewed by Steph Lott

3***

What’s that you say? A thriller? Based on a true story? Described as “bold and haunting”, it sounded like the kind of play I would really enjoy.

I like a thriller that chills – fiction along the lines of Susan Hill, Edgar Allan Poe, or Steven King. I prefer horror and chills that leave a lot to your imagination – the threat that is mentioned but you never see, since the fear that lurks in the imagination of the viewer or the reader is always much better that when you are explicitly shown it. I like stories which show that the world is not only what it appears to be. The mystical.

The Croft tells the story of three women from different eras who have lived in a remote dwelling in the Scottish Highlands and whose lives have been touched by tragedy.

In the 1880s, there is Enid, played by Gwen Taylor. In 2005, the croft is used as a holiday home by Ruth, played by Caroline Harker, and her husband, Tom, played by Simon Roberts. It is also where Ruth has an affair with David, played by Drew Cain. In the present day, Ruth’s daughter, Laura, played by Lucy Doyle, and partner Suzanne, also played by Caroline Harker, return to the croft and uncover the truth hidden within its walls.

The play started well – so ominously, with Enid alone, centre stage, and sound and lighting being used very effectively to set the scene for a spine tingling treat. Or so I hoped.

Sadly I ended up feeling a little confused and disappointed. I was engaged in the play the whole way through, enjoyed the dialogue and thought the whole cast gave great authentic performances. But I was expecting a grand climax, a denouement which never came. I was left feeling “oh.” As I left the theatre I couldn’t really have said what the play was about. I could tell you what happened in the play but not why Ali Milles felt compelled to tell this story.

The story lacked depth and detail in places. It’s not clear why Laura blamed her father so much (was there a connecting theme of destructive religious fervor linking Tom and Patrick? It wasn’t well enough developed in the story to know). There were elements that I enjoyed but other aspects had me lost. Why was Enid an outcast? Why would Eilene (also played by Lucy Doyle) choose to go to her to seek refuge? Why was Laura so angry at her father? I think I was left with the sensation that Ali Milles has made a good start with this play but its narrative needs further work.

However the intertwining of the 3 periods in time works well and each story of itself makes sense. I’m just not quite sure what Ali Milles us trying to say. The play needs a good editor.

Having said that I think the dialogue was well written and there was much to enjoy within the play. The sound and the scenery, as I’ve mentioned, create an atmospheric cocoon within which the story can unfold. Caroline Harker’s portrayal of a woman bravely facing death is played with grace and delicacy, as is her other role as the older lover trying to balance off leaving her family and being in love with the difficult and much younger Laura.

In summary I think this play needs work but was blessed with a very talented cast and director. Was this a play about witches and how they have always been misunderstood? Is it about how men fail to understand their women, try as they might? Was it about buildings and the history they hold within their walls? Or was it just a creepy ghostly tale, which was supposed to have been based on a true story? I was left unsure

Liverpool Empire – until 21 March 2020

Reviewed by Charlotte McWilliam

5*****

“A delightful evening of a classic musical in all it’s splendour.”

The story of Anna, an English School teacher who tries to help an Eastern King to become part of the modern world, but he is unable to resist the forces of ancient customs.

Live music under the direction of Malcolm Forbes-Peckham. A great live sound starting with a strong and buoyant overture, really adding to an enjoyable evening.

Choreography originally by Jerome Robbins and magically recreated by Christopher Gattelli,  was clean and well executed, a particular favourite moment being the ballet in Act 2. I believe that the choreography has been passed down from choreographer to choreographer all the way down to Greg Zane, US associate choreographer.

The attention to detail with the traditional and authentic set, props and clever use of lighting was incredible; a serene start with a pink sky backdrop as the boat arrives at the port, instantaneously transported us to 1860’s Siam. A particular favourite was the use of moving pillars which cleverly created the effect of walking through the Palace grounds. 22000 flowers suspended on vines from the ceiling to set the iconic garden scene was particularly impressive; each one made by hand.

Complimented by Catherine Zuber’s stunning costumery, the creative team really used all the right ingredients to produce an authentically, successful take on such a classic production.

I’ll take a moment now to praise the perfect casting of each role in the performance, we were truly shipped overseas for the evening, every accent and mannerism was perfect.

The lovely leading lady Annalene Beechey, did a wonderful job as Anna Leonowens, a beautiful soft soprano vocal, and an engaging onstage chemistry with the King of Siam, Darren Lee who had a gentle humour throughout. Comedic timings between the two were expertly delivered, under the direction of Bartlett Sher. A highlight of the duo was in Act 2 when they performed the iconic ‘Shall we Dance?’ Beechey’s voice softly soared and Lee’s endearing comical acting was felt by the audience and reflected in a rippling sea of participation clapping to the Polka. 

Neither Beechey or Lee put a foot out of place all night, and they were truly charming.

I really enjoyed the moments with Tumptim and Lun Tha, Jessica Gomez-ng and Ethan Le Phong; stunning vocals particularly during ‘We Kiss In The Shadows.’ 

Gomez-ng had great clarity and excellent presence in such a gentle and sensitive role. A strong likeness to a young Lea Salonga. 

I’d like to praise the ensemble, each and every one talented and adding something. 

A favourite moment for me was ‘The March Of Siamese Children’ featuring some extremely cute Princes and Princesses. A few were very young making their professional stage debuts. The affection shown on stage between the King of Siam and the child cast was heart warming. 

All in all a great evening at The Empire, and another success for the production team and cast. A delightful evening of a classic musical in all it’s splendour.

The Alexandra, Birmingham – until 14 March 2020, then Nationwide

Reviewed by Joanne Hodge

4****
Joe Thomas is the stand-out star of Matthieu Delaporte and Alexandra de la Patelliere’s comedy What’s In a Name. He captivates the audience from his narrative role through to that of Vincent, the slightly egotistical brother of Elizabeth (Emma Carter) and expectant father to Adolphe … or is he?

This contrived comment forms the basis of a Saturday evening dinner party, which leaves you feeling you had been on the guest list for, rather than an invited, spectator.

Rick Fisher’s lighting, with design by Francis O’Connor, perfectly captured the atmosphere and ambience of  Peckham apartment, and the only thing I felt may have added to this would have been some soft, easy-listening tunes played in the background – something I’m sure we all have in case of awkward silences when we have guests for an evening.

That said, it wasn’t a show-stopper, and the lack of this didn’t take away anything from the play.

Perfectly timed one-liners, taking you from stunned silences to raucous laughter, alongside an emotional roller coaster of emotions as opinions, friendships and relationships are tested – this show has it all. Political, satirical, egotistical, emotional and hilarious – I loved it! It seems I wasn’t alone in this opinion, which could be taken from the rapturous applause at the conclusion of the dinner party and standing ovation at the curtain-call.

RSC TO TOUR THE WINTER’S TALE IN 2021

RSC WILL TOUR THE WINTER’S TALE TO SALFORD, BRADFORD, CANTERBURY AND NEWCASTLE UPON TYNE, AND ONE MORE VENUE (DETAILS TBC)

Following its run in Stratford-upon-Avon and the Barbican Theatre in London this year, the Royal Shakespeare Company will tour The Winter’s Tale in January and February 2021. The production will visit Salford, Bradford, Canterbury, Newcastle upon Tyne, plus one further venue to be announced. Performance dates at the end of the release.

Set across a 16-year span from Mad Men to the moon landings, this new production – directed by RSC Deputy Artistic Director, Erica Whyman – tells the story of King Leontes, whose jealousy rips his family apart and has life-long consequences.

Erica Whyman said, “I am particularly excited to be directing The Winter’s Tale as it is one of my all-time favourite plays.  It is a story of a man with immense power, who abuses it in the grip of a totally consuming paranoia, but then comes to his senses on a very public platform and apologises – without limit or excuse. That seems to me an act of such rare humility, that to do justice to it Shakespeare conjures a true fairytale, in which grief, repentance, patience, love and common sense are all in the end rewarded.

“I’m setting my production in the 1950s in a monarchy that has known fascism – an imagined Spain where politics, religion and power are deeply intertwined, moving later to 1969 in the North East of England in which real labour and a deep sense of community seems gloriously healthy, loving and straightforward by comparison.

“It is a privilege to be able to share this wonderful play with audiences around the country. I am passionate about ensuring the RSC means what it says about Shakespeare being for everyone, and being invited to tour to these welcoming and ambitious theatres is a significant plank of making that a reality. I’ve been moved and encouraged by our audiences nationally: from my production of A Midsummer Night’s Dream: A Play for the Nation in 2016 to my 2018 production of Romeo and Juliet, I’ve seen firsthand what it can mean for a community to engage with our productions, and I look forward to the next chapter in that journey.”

The Winter’s Tale tour forms part of the RSC’s ongoing mission to create a nation of Shakespeare and theatre lovers around the country. Working hand-in-hand with its partner theatres, the local community, and Associate Schools, the RSC wants anybody aged 3 – 103 to have the opportunity to feel the transformative power of theatre and Shakespeare. 

In the lead up to the production arriving in Bradford, Newcastle upon Tyne and Canterbury, the RSC and those venues will work with local schools and communities who might not normally visit the theatre, to create their own responses to the play. These will be performed in and around those theatres, with more details to be announced.

The production’s music is composed by Isobel Waller-Bridge, who has previously worked with Erica Whyman on her productions of Hecuba and The Seven Acts of Mercy. Her other soundtracks include Vanity Fair (ITV/Amazon), Vita and Virginia (Protagonist Pictures), Fleabag (BBC/Amazon), Woyzeck (Old Vic) and Knives in Hens (Donmar Warehouse).

Joseph Kloska plays Leontes. His previous RSC credits include Imperium, Written on the Heart and Measure for Measure.  He also appeared in The Christmas Truce, the first production Erica Whyman directed for the RSC.  Joseph’s TV and film work includes The Crown, Foyle’s War and Made in Dagenham.

Kemi-Bo Jacobs makes her RSC debut playing Hermione. Her previous theatre credits include All My Sons (Manchester Royal Exchange), Hedda Gabler (Salisbury Playhouse), Betrayal (Derby Theatre), and Wild East (Young Vic). TV work includes Lewis and Doctor Who. 

Ben Caplan also makes his RSC debut playing Camillo.  Well known for his role as Sergeant Peter Noakes in the BBC’s Call The Midwife, Ben’s other TV credits include Silent Witness, Midsomer Murders, and the BAFTA award winning, The Lost Honour of Christopher Jeffries.  Recent stage work includes The Exorcist (Bill Kenwright productions), Describe The Night (Hampstead Theatre) and The Knowledge (Charing Cross Theatre).

Amanda Hadingue plays Paulina.  Her previous RSC credits include Miss Littlewood (directed by Erica Whyman), The Fantastic Follies of Mrs Rich, The Duchess of Malfi, The Merchant of Venice, The Taming of the Shrew and The Tragedy of Thomas Hobbes.  Other theatre work includes Top Girls and A Small Family Business (National Theatre).

Andrew French plays Polixenes. Andrew’s previous RSC credits include Erica Whyman’s production of Romeo and Juliet, and Julius Caesar. TV work includes A Very English Scandal, EastEnders, Marvin Can’t Fail and Holby City.

Further cast includes: Alice Blundell (Dorcas), Alfred Clay (Archidamus), Colm Gormley (Antigonus), William Grint (Young Shepherd), Vicky Hall (Mopsa), Avita Jay (Cleomenes), Zoe Lambert (Shepherdess),Georgia Landers (Perdita), Mogali Masuku (Dion), Dyfrig Morris (Mariner), Baker Mukasa (Lord), Anne Odeke (Autolycus), Bea Webster (Emilia) and Assad Zaman (Florizel).

Joining Erica Whyman on the creative team are Tom Piper (Set Designer), Madeleine Girling (Costume Designer), Prema Mehta (Lighting), Isobel Waller-Bridge (Music), Jeremy Dunn (Sound), Kate Waters (Fights), and Anna Morrissey (Movement).