Author: FairyPoweredProductions

Theatre Royal, Nottingham – until 5 January 2020

Reviewed by Boo Wakefield

3***

Panto is back in Nottingham – oh yes it is!

This year the Theatre Royal have put on a production of Cinderella. Written by Alan McHugh, it has all the right ingredients for an entertaining night out – spectacular costumes, amazing magic, toe-tapping songs, star-studded cast and local in-jokes for both the young and slightly older!

The two ugly sisters lead the cast played by Les Dennis (Michaela) and Conor McIntyre (Phelina), both from Coronation Street. As they starred last year in panto together, they are at ease playing opposite each other and are a well-timed double act.

Richard Cadell plays an energetic Buttons along with his little friend Sooty. They dominate the play with their slap stick comedy and incredible magic acts and if you are a fan of Sooty you will love it.

Gareth Gates plays Prince Charming and now has 17 years performing experience since his Pop Idol fame. His singing is just as you would expect it to be: beautiful and strong but sadly we don’t hear enough from him in this production. Jack McNeill plays his sidekick Dandini who makes the most of the time he has on stage. Prince Charming’s true love Cinderella is played by Hannah Grace Lawson who is ideal for this role as she is sweet and pretty with a lovey voice. Fairy Godmother Kimberley Blake was a joy to watch, delivering her lines with a touch of humour and her “Fabulous Fairy” song was spectacular with all the dancers dressed as the YMCA. The highlights were the routine for ‘If I Were Not Upon This Stage” which had everyone in fits of laughter and the Two Ugly Sisters, Buttons and Prince Charming timed their slap stick moves to perfection, along with the breath taking carriage and horses taking Cinders to the ball which flew up into the air and over the audience – a spectacular sight.

Overall, this delivers the magic you expect from a panto and the audience loved the water pistols, whoopie cushions, the inevitable screaming of “he’s behind you” and the unpredictable children invited up on to the stage but I was confused as to how sweet Cinderella changed into wrestler during one song and Buttons had to be rescued from a ninja with 6 chainsaws in a magic act. Difficult ones to explain to the children. Yes, there were a few teething problems which were covered up with jokes and laughter but I’m sure these will be ironed out. A sparkly, feel-good production.

FROZEN THE MUSICAL ANNOUNCES

ON SALE PLANS AHEAD OF OCTOBER 2020 OPENING

AT THE NEWLY RESTORED THEATRE ROYAL DRURY LANE

Disney Theatrical Productions today announces public on sale dates for their new production of Frozen in London’s West End. The production will reopen the newly refurbished Theatre Royal Drury Lane, with previews commencing in October 2020. With music and lyrics by Kristen Anderson-Lopez and Robert Lopez, and book by Jennifer Lee, Frozen – directed by Michael Grandage – opens for priority booking late January 2020, with general on sale on 6 March 2020. Groups and schools booking opens on 24 February 2020.

Frozen – produced by Disney Theatrical Productions under the direction of Thomas Schumacher – opened on Broadway in March 2018 and quickly established itself as the biggest musical hit of its season, nominated for the Tony Award® for Best Musical. In addition to the opening in London, the musical recently embarked on a North American tour, and productions will open in Australia and Japan in 2020, and in Hamburg in 2021.

The highest grossing animated film of all time, Frozen was released in cinemas in 2013, winning multiple awards, including two Academy Awards® for Best Animated Feature and Best Original Song (“Let It Go”), the Golden Globe for Best Animated Feature Film and the BAFTA for Best Animated Film. It was written and directed by Jennifer Lee and Chris Buck, withmusic and lyrics by Kristen Anderson-Lopez and Robert Lopez.Currently in cinemas, Frozen 2 had the biggest ever opening for an animated film worldwide and has already made £27.33M at the UK and Ireland box office, with $739M taken globally after just 12 days on release. 

Audiences are invited to learn more about Frozen the Musical, and to sign up for priority booking by 12 January 2020 at FrozenTheMusical.co.uk.

Andrew Lloyd Webber’s Theatre Royal Drury Lane, owned and managed by LW Theatres, is closed until autumn 2020 for a landmark £60 million restoration project and will reopen as Frozen begins previews.

The production features choreography by Rob Ashford,set and costume design by Christopher Oram, lighting design by Neil Austin, sound design by Peter Hylenski,video design by Finn Ross, puppet design by Michael Curry, and musical supervision and arrangements by Stephen Oremus.

Twitter @FrozenLondon

Facebook /FrozenLondon

Instagram @FrozenLondon

New Victoria Theatre, Woking – until 29 November 2019

Reviewed by Antonia Hebbert

4****

George Frideric Handel’s setting for his brilliant 1711 opera is the First Crusade, with Christians fighting Muslims to capture Jerusalem. Nowadays the history of the Crusades feels a lot more complicated than it did in the 1700s, so it’s not surprising that director Robert Carsen has made one or two changes.

This Rinaldo takes place in a dream world that merges Handel’s plot with school life. Rinaldo (Jake Arditti) is a bullied pupil, and the whole opera becomes an escapist journey through his head. There are bicycles, hockey sticks, explosions in the chemistry lab, St Trinian’s inspired girls, blazers and helmets. Rinaldo’s beloved Almirena (Anna Devin) is a schoolgirl, and the sorcerer Queen Armida (Jacquelyn Stucker) is a teacher-turned-dominatrix in Rinaldo’s fevered imagination.

After a slowish start, it becomes sheer fun, and sometimes extremely silly, without detracting from the luscious music. The presence of four countertenors in the small cast adds to the otherworldly feeling. Jake Arditti was sometimes hard to hear over the orchestra at first, but became charming and also very entertaining – we were putty in his hands by the end. Jacquelyn Stucker was fabulously strong, Almirena funny as well as sweet, and Tom Scott-Cowell stood out as an appealingly earnest Eustazio. An audience that had felt uncertain to begin with, went home smiling.

The Glyndebourne Tour is an annual series that shows off rising young stars from Glyndebourne’s ranks of singers, players and conductors. You might still be able to get tickets to the Tour’s production of Verdi’s Rigoletto, at the New Victoria Theatre on Saturday 30 November. It’s directed by Christiane Lutz, with Georgian baritone Nikoloz Lagvilava as Rigoletto and South African soprano Vuvu Mpofu as his daughter, Gilda. Not many laughs are likely here, but it’s said to be beautifully performed.

HOPE MILL THEATRE, MANCHESTER – UNTIL 29 DECEMBER 2019

REVIEWED BY ANGELOS SPANTIDEAS

5*****

Taking inspiration from the English literature Christmas classic A Christmas Carol by Charles Dickens, The Astonishing Times of Timothy Cratchit follow teenage Timothy though his attempt to define his individuality and prove to the world, and most importantly to the himself, that despite his mobility issues he is still capable to achieve his dreams.

Timothy’s curiosity for the world get ignited when visiting the Great Exhibition, which opens his eyes to the beauties of the world and urge him to leave his security and his uncle’s house to venture in the world and prove his worth. Paul Greenwood as Timothy’s uncle Scrooge succeeds in depicting the stress and fear that come along with being a child’s guardian. His explosive character shows the insecurity of letting a young boy with a handicapped leg be exposed to the dangers and the adversities of society, from which he has been sheltered his whole life. Scrooge’s character also does not fail to show the selfishness of parenthood and the dismay of accepting that a parent is not needed anymore, and a once young child is now becoming a man.

Ryan Kopel as Timothy fits the role incredibly, as he manages to illustrate the youthful and innocent nature of adolescence and wins the audience from the very beginning. His character development is obvious with Timothy by the end of the show being a confident young man, who has succeeded into chasing his dreams and has overcome his physical obstacles. His singing resonates with the worries of any young person who makes a leap of faith to find themselves and proves how emotion can be communicated though music.

In Timothy’s life the prevalent female figure Lucy, portrayed by Sammy Graham, shows a strong woman who even though does not seem to have achieved a lot shows real strength and tenacity and is a main figure of support. Lucy appears in Timothy’s life when he moves in his new accommodation and stays as discreet presence till, he eventually succeeds.

The circus group which Timothy eventually joins, becomes a major part of his journey with the group’s leader Grimaldi becoming his mentor and the rest of the group his companions which manage to add excitement and comedy to the musical.

The contribution of the musicians is significant, adding a lot to the experience of this musical. Lastly, the brilliance of Helen Pearson playing the roles of Mrs Linden and Mrs Poole, is apparent from how effortlessly she is able to transform from a sweet and reserved housemaid a the hilarious and explosive landlord.

The small theatre creates an intimate experience with the audience being immersed into Timothy’s world with the cast acting and singing directly in front of them. The set is uncomplicated with quick adjustments and simple prop changes to signal the change of scenes. The double mirrors around the stage create opportunities to play with the lighting and change the character of the set quickly depending on the needs of every scene. With powerful performances and a vibrant cast, The Astonishing Times of Timothy Cratchit creates an entertaining musical filled with laughter which is perfectly complemented by the Christmas atmosphere and the hope that the new year will bring an opportunity for each to find their place in the world, exactly like Timothy.

Curve Theatre, Leicester – until Saturday 11 January 2020

Reviewed by Boo Wakefield

5*****

I admit to being a little apprehensive going to see this new version of West Side Story as it is my mother’s favourite film from when it first came out in 1961 and she accompanied me to see it last night. Would it stand the test of time? Would it live up to her expectations? Or would it spoil her memories?

I had nothing to worry about. The Curve has put on another outstanding musical with the Young Company and the Curve Young Company. Sticking to the original script by Arthur Laurents, the stunning lyrics by Stephen Sonheim and the timeless score by Leonard Berstein, what could be improved? Step up Ellen Kane who has choreographed this production perfectly. There is a continuous flow to each act where the motion and script faultless moves into the dance and singing of each of the iconic songs, something that is often missing in modern musicals. None of the songs were left out, from “I Want To Be In America” sung by Maria (Adriana Ivelisse), Consuela (Abigail Climer) and Rosalia (Mireia Mambo) to “Gee Officer Krupke” performed brilliantly and humorously by the Jets boys. Kane’s choreography retained the original feel of the musical and filled every moment of this action-packed production.

Nikolai Foster should be congratulated for directing his cast through every emotion this story brings – rivalry, drama, passion, romance, jealousy and humour. It feels churlish to single out particular performers to applaud knowing that the whole cast played their part to put on such a polished show but Jamie Muscato (Tony) and Adriana Ivelisse (Maria) are truly convincing as the fatally attracted lovers. Their poignant, almost haunting rendition of “Somewhere” was enough to move you to tears but in contrast their young love is vibrant and uplifting.

Michael Taylor’s extraordinary set design is the icing on the cake using wire mesh cages, a throwback to the film, that the cast move about constantly, and piles of decaying buildings which sets the scene perfectly in run-down New York City in the fifties. His attention to detail from changing the lines of washing to bridal gowns to the impressive three-story set is the perfect backdrop. And even the orchestra, brilliantly and enthusiastically led by George Dyer, are not left out. They appear during the dance at the back of the stage but elevated so that we can all see them, a real treat and so affective.

This musical, still a modern version of Romeo and Juliet, has been brought right up to date with this production yet it still has that edgy feel from the rival gangs and the violence they bring, sadly that is all too relevant to our modern society.

Electrifying dancing, beautiful singing and wonderful acting, if you want to treat yourself to something really special this Christmas, get a ticket for this show! And yes, my mother loved it!

Tristan Bates Theatre – until 14 December 2019

Review by Donna Easton

5*****

If the job of the actor is to stimulate emotional responses from the audience through the portrayal of dramatic events, Ingrid Schiller and Verity Kirk have their artform well and truly licked.

In the intimate setting of the Tristan Bates, the stark set (one bench) and minimal production mattered not. This was character work and storytelling at it’s finest. I was transfixed by Ingrid Schiller’s Laura, an incredibly likeable and relatable central character. She spoke to the audience throughout and her authentic delivery had me completely drawn in to her journey from the outset. From her 9 year old self in South Africa (falling in love with the idea of being an actress when she sees Ursula Andress emerging from the sea in Dr. No), we are with her. She takes us to London growing up in an unfamiliar country and tackles insecurity, eating disorders and being a woman with honesty, integrity and laugh out loud humour.

According to the website, Verity Kirk, plays ‘Other’ and wow did she play ‘Other’ with such deft skill. I lost count of the characters she portrayed, from Laura’s disinterested father to the enchanting ‘pregnant lady’ to a stoned love interested Laura has a moment of passion with (which was definitely a hysterical highlight for my friend and I) and ending with an all too familiar ‘Weinstein’esque movie producer that slapped the smile from my face as I felt helpless for Laura in this vulnerable position. With no costume change and with just the help of a hand-held mic, Verity gave us believable character after believable character that provided the yin to Ingrid’s yang.

Genius direction from Stephen Doolan had the characters interact in a way I had never seen before. I left pondering how they could have created such a level of intimacy between the characters without the actors looking at one another even once? It just worked beautifully. A perfect double act gave us a hilarious and thought-provoking story which didn’t need any bells and whistles. The exposing environment gave the two actors nothing to hide behind but their exceptional talent and we simply didn’t need anything else. Brilliant!

Joseph Rowntree Theatre – until Sat 30 November 2019

Reviewed by Michelle Richardson

3 1/2 ***

Jesus Christ Superstar was one of Andrew Lloyd-Webber and Tim Rice’s first musicals, written in 1970. York Musical Theatre Company, one of York’s many talented am-dram groups, have taken this famous musical on and is currently playing at the cosy Joseph Rowntree Theatre. This is my first outing there, and it is quite an intimate theatre with comfortable seating, I was pleasantly surprised.

The rock opera is a modern, well a 1970’s, take of the last few weeks of Jesus’s life, from Judas’s betrayal to his final crucifixion. It’s a story of joy, paranoia and betrayal. Jesus (John Whitney) is attracting a lot of attention and the people idolise him, but one of his follows Judas (Chris Mooney) is worried about what will happen to them all when the mighty Roman Empire hear about the Jesus effect. He also seems to loathe Mary Magdalene (Marlena Kellie), jealous of the bond she shares with Jesus.

The cast consists of a total of 26 actors, 14 of which are ensemble. Most of the cast are dressed as hippies, depicting the era it is set in, the main exception being Judas, whose dress is almost like a fighter, combat trousers, boots and a bomber jacket. The whole cast seemed to enjoy performing on stage with its catchy tunes and Kellie had a lovely voice, portraying Mary Magdalene’s vulnerable side.

The stand out star of the show was definitely Mooney as Judas. His vocals stood out, the power and emotion in his voice was palatable, he captured Judas’s mood perfectly. I did find there to be a slight issue here, when the band were playing the powerful numbers, all of which seemed to be Judas’s songs, we were hit with a wall of sound, they were just a bit too loud, as good as Moody was, at times it was a struggle to hear him properly. Whitney in the title role of Jesus, also produced a solid performance, and was a suitable counterpart to Judas.

The stage was pretty bare, just scaffolding and ropes being used to full effect throughout the performance, with the crucifix appearing for the final scene. The band were very enthusiastic and on the whole very good, the volume just needed pegging back for a couple of numbers.

It never ceases to amaze me how York is such a wonderful city for amateur dramatics and it is important that they are well supported, in order for this to continue.

Grand Opera House, York – until 1 December 2019

Reviewed by Katie Goldsbrough

4****

Scrooge the Musical tells the well-known story of Charles Dickens’ A Christmas Carol with added musical numbers.

The story remains the same with miserable Ebenezer Scrooge (played by Mark Hird) caring only for himself and not for others at Christmas. His old business partner Jacob Marley (Tony Froud) comes back from the dead to help him realise the error of his ways. He is then visited by 3 spirits showing him the Christmas’ past, present and future. We’re told the story of how Scrooge learns from his mistakes and tries to earn his redemption.

This adaption is full of great catchy songs that will still be stuck in your head when you get home. A fun filled evening for all the family it is a perfect pre-Christmas show.

This production had a large supporting cast, all of whom were well choreographed by Iain Harvey, particularly the young children. The young actor playing Tiny Tim (Sonny Love) did a brilliant job with a solo song stood on a table.

The ensemble were well rehearsed and all did a good job. The only thing that could have used an extra rehearsal was the attaching of the harnesses as it looked as though there was a bit of difficulty getting them on. The stage was well used, with a simple yet effective set.

Mark Hird portrayed Scrooge fantastically, he did a very good grumpy old man and his transformation to kind and generous at the end was great. Overall this is a great production which has had a lot of hard work put in to it and is a perfect feel good Christmas show for this time of year.

Festival Theatre, Edinburgh – until 1 December 2019

Reviewed by Hannah Plumb

3***

How the Grinch Stole Christmas the Musical is the UK premiere of the hit Broadway musical based on Dr Seuss’ classic rhyming children’s book. The book has been adapted into two films, one animated, one the greatest film that has ever been made (in my opinion), a TV movie and now this!

The musical takes on a different perspective than it’s previous adaptations, following the story of Max, the Grinch’s dog, who guides the audience through the tale. ‘Old Max’ played by Steve Fortune reflects on that remarkable Christmas when he was but a pup and looks over ‘Young Max’ played by X-Factors Matt Terry. Fortune narrates the majority of the action and performs Seuss’ trademark rhyming couplets with a theatrical flourish. Unfortunately, Terry as Young Max fails to keep up with the rest of the cast and looks severely out of his depth in this fast-paced, whirlwind of a show. 

The star of the show, the mean one himself, The Grinch, is played by Edward Baker-Duly. Duly balances his performance with a mix of Carrey-Esque delivery while putting his own spin on the character. His comic timing and physical comedy are enjoyable to watch, however, his interpretation of the character feels well routed in reality which means we miss the strange creature The Grinch is. We instead seem to see him as a flawed person rather than the wonderfully weird and mythical being he was written as. 

Overall, this was a slightly problematic production. The colourful but at times overwhelming musical numbers with energy and exuberance, I can’t help feeling like this production missed the mark. The choreography was excellent and the costumes and set were appropriately storybook however this version of How the Grinch Stole Christmas the Musical left you feeling like you didn’t quite get what you asked for. 

SYNDICATE INTERVIEW WITH JUDITH CROFT, SET AND COSTUME DESIGNER FOR THE VARIETIES’ ROCK ‘N’ ROLL PANTOMIME

Ahead of Red Riding Hood The Rock ‘n’ Roll Pantomime opening at City Varieties Music Hall on Friday 29 November 2019, Kelly Scotney, PR Manager, talked to the supremely talented Judith Croft, Designer, who has been working on Rock ‘n’ Roll Pantomimes for over 20 years.

Q: This is your fourth year designing the set and costumes for The Varieties Rock ‘n’ Roll Panto, how did you get involved?

A: I originally worked with Peter Rowe (creator) at The Gateway Theatre, Chester. When he started to work on the Rock ‘n’ Roll concept at Theatr Clwyd, Wales, he wanted me to join him as designer. I did it for 18yrs at Clewyd before moving to The Varieties.

Q: Aside from the original tales and drawings, where does the inspiration come from for your designs?

A: I try to find a different world for every new production I design to save trotting out the same ideas. This means a lot of research that inevitably throws up interesting information and resources.

For Cinderella in 2018 I was influenced by traditional 50’s Rock ‘n’ Roll, whilst this year’s inspiration is a Bavarian Christmas market – imagine a lovely snowy alpine landscape and a cosy window-lit village. I researched so many Christmas markets to design the set, and similarly the costumes which reflect traditional Bavarian dress e.g. lederhosen.

Q: Are you given free rein to design the set and costumes, or are their specific guidelines and restrictions that must be adhered to?

A: There are very specific requirements when designing the set for the Rock ‘n’ Roll Pantomime e.g. there needs to be a large space for the band, a flat space to dance on and access from both sides of the stage. Ordinarily at The Varieties actors can only access the stage via the left which means I must build a crossover – a means by which the actors can access the set from both sides. This is usually done by constructing a bridge behind the set which results in lots of running around backstage!

But to be honest, I am generally given the freedom to run with my imagined world. Occasionally a director might have a specific idea e.g. they might like the colour blue, but usually they’re happy for me to be creative. This is so important for a designer as this is when we create our best work.

Q: Do you have a favourite character that you like to create for? If so, why?

A: I enjoy designing for all the characters. If pushed I would say the villain or the walk down dress for the princess or heroine but I like them all; I like creating a theme that runs through all the costumes.

Q: Is there a specific pantomime you would like to design the set and costumes for? Again, if so, why?

A: I think I’ve done them all! I’ve probably designed Aladdin more times that any normal human being should; I may have run out of ideas for Aladdin! They’ve all got something great about them.

For a completely different reason, I really enjoyed working on Beauty and the Beast because the setlist contained the Nilsson song Without You which I loved when I was young!

Q: You have had a very varied career, what has been the highlight to date?

A: I’m particularly proud of two things: firstly, when I was at the Library Theatre, Manchester, we did a site-specific production of Dicken’s Hard Times in a disused mill; it was a massive project, involving lots of people. The space itself was huge, spread over two floors, I designed a number of sets within it and some fabulous costumes that swept through the space. It was a totally immersive and stunning production. Secondly, I designed the set for Laughter on the 23^rd Floor, a Neil Simon play in the west end starring Gene Wilder. It was great fun having a show on Shaftsbury Avenue and feeling in the centre of everything. But honestly, I enjoy my work so much that there are barely any shows I haven’t enjoyed working on.

Q: What advice would you give to people starting out in a similar career to yours?

A: It takes 50% talent and 50% doggedness. It’s not a job for people who are easily disheartened. In all aspect of theatre there is rejection, and this is no different for designers, largely due to the lack of opportunity. Because there’s very little work, you must be able to prove your experience when starting out. I gained mine by building a portfolio of student productions when I was at college, but I didn’t just design at my own college, I had friends at other colleges, and I designed for them too. Always say yes. Make costumes for nothing, build sets for free. If you don’t have a total passion or can’t give it your all, it’s not the job for you. It’s a fantastic job but there’s very little of it around so you really must stand out as willing.

Q: What designer has most inspired you? And why?

A: So many, I almost don’t know where to start. With every new job I do I research and delve into new worlds and discover new designers. For every new show it can be somebody completely different, from James Turrel’s lighting designs to Bob Crowley, Caravaggio or Van Gogh. You root and rummage through your memory and the visual references available to you.

Red Riding Hood The Rock ‘n’ Roll Pantomime is at City Varieties Music Hall from Friday 29 November 2019 to Sunday 12 January 2020.