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Hull New Theatre – until 27th April 2019

Reviewed by Catherine McWilliams

5*****

I was lost at the Hull New Theatre, lost in the beauty and spectacle of Matthew Bourne’s Swan Lake, and now I am lost for words and feeling inadequate, how do I review such a wonderful experience?

Matthew Bourne’s Swan Lake is a retelling like no other, with male swans and a Prince who is struggling with life and his sexuality. It was originally created in 1995, but this revival is fresh and relevant.

Our hero the Prince (Liam Mower) is unhappy with life and the coldness of his mother the Queen (Nicole Kabera) adds to his despair, things come to such a pitch that he decides to commit suicide and it is when he goes to the lake that the swans appear.

From start to finish this production is packed with detail, always something happening slightly off from the main action – where to look? Watch the ballet at the theatre and miss what is happening in the Royal Box; watch the dancing at the ball and suddenly spot that something is happening on the balcony. Full of quirkiness and life and with a nod to the current preoccupation with “fame” in the shape of the Girlfriend (Katrina Lyndon) and the paparazzi. It has humour but so much darkness – pulling at your emotions. Lez Brotherston’s set and costume designs are magnificent and of course there is Tchaikovsky’s soaring music but it is the dancing that is riveting from start to finish.

Liam Mower’s Prince is sublime, his every body movement shows how he is feeling – a simple shrug or a head movement. His dancing is breathtaking and so elegant but it is in the duets with the Swan (Max Westwell) that I held my breath, such beauty and vulnerability, it made me cry.

Max Westwell is captivating as The Swan/Stranger, his performance at the ball as the Stranger is mesmerising, a dark presence but full of charisma. His Swan broke my heart in the finale, how I wanted a different ending.

Katrina Lyndon adds a wonderful touch of humour as the Girlfriend, whilst Nicole Kabera adds an imperiousness and coldness to her role as the Queen.

As to those Swans, it was impossible to take your eyes off them as they swirled and stamped and hissed across the stage. Portraying viciousness in the extreme, these were not swans you would want to come across. They moved as one, yet seemed to have their own characters, the stuff of nightmares.

The finale was magnificent, so incredibly emotional.

As to the standing ovation, we would have still been there cheering for some considerable time had the lights not gone up.

This is a must see – food for the soul, an experience like no other. Me – I’m back on Saturday night to see it again!

IT IS TRUE; BLOOD BROTHERS RETURNS TO LEEDS GRAND THEATRE

WEST END STAR LINZI HATELEY REPRISES HER ROLE AS MRS JOHNSTONE

The international smash hit musical Blood Brothers returns to Leeds Grand Theatre from Tuesday 7 to Saturday 18 May 2019.

Considered ‘one of the best musicals ever written’ (SUNDAY TIMES), Blood Brothers – presented by award-winning producer/director Bill Kenwright andwritten by award-winning playwright Willy Russell – has triumphed across the globe, scooping up no fewer than four awards for best musical in London and seven Tony Award nominations on Broadway.

Telling the captivating and moving story of twin boys separated at birth, only to be reunited by a twist of fate and a mother’s haunting secret, the epic tale of Liverpool life started as a play performed at a Liverpool comprehensive school in 1981 before opening at the Liverpool Playhouse 35 years ago in 1983. Sell out seasons in the US, Australia, Canada, New Zealand and Japan followed as well as running in London’s West End for 24 years. The memorable score includes A Bright New Day, Marilyn Monroe and the emotionally charged hit Tell Me It’s Not True.

Returning to the seminal role of Mrs Johnstone is Olivier Award nominated British actress Linzi Hateley (Joseph and the Amazing Technicolour Dreamcoat, Les Misérables, Chicago): “Mrs Johnstone is an iconic role that I’ve always secretly dreamed of playing,” says Linzi. “I’m thrilled to perform it to audiences right across our country.” Joining Linzi will be Alexander Patmore, Joel Benedict and Paula Tappenden as Mickey, Eddie and Mrs Lyons respectively. Having recently played Bobby Willis in Cilla The Musical, Patmore makes his debut as Mickey Johnstone. Benedict and Tappenden are long associated with the production having previously played their respective roles on tour and in the West End.

Blood Brothers is at Leeds Grand Theatre from Tuesday 7 to Saturday 18 May 2019

Book online at leedsgrandtheatre.com or call Box Office on 0844 848 2700

CURVE, BELGRADE THEATRE COVENTRY, EVERYMAN THEATRE CHELTENHAM AND LEEDS PLAYHOUSE ANNOUNCE FULL CASTING OF

Hanif Kureishi‘s

MY BEAUTIFUL LAUNDRETTE

FEATURING

Omar Malik as Omar

Jonny Fines as Johnny

And

Original film cast member Gordon Warnecke as Papa

“Could anyone in their right mind call this silly little island off of Europe their home?”

Following the recent announcement that Curve, Belgrade Theatre Coventry, Everyman Theatre Cheltenhamand Leeds Playhouse are co-producing a new stage production of Hanif Kureishi’s My Beautiful Laundrette this autumn, the full cast for the drama has now been revealed.

Omar Malik (East is East, Nottingham Playhouse and Gangsta Granny, UK tour) will join the production as the quick-witted Omar, a young British Pakistani who transforms his Uncle’s run-down laundrette into a thriving business. 

Jonny Fines (An Officer and a Gentleman – the Musical, Curve and UK tour and Grease, Curve) will play rebellious punk Johnny, the role which launched the career of Daniel Day-Lewis.

Gordon Warnecke, who originally played Omar in Stephen Frears’ 1985 film, joins this new cast as Papa, Omar’s alcoholic but wise Father.

Completing the cast are Paddy Daly as Genghis and Dick O’Donnell, Kammy Darweish as Nasser, Hareet Deolas Salim, Nicole Jebeli as Tania, Balvinder Sopal as Bilquis and Moose and Cathy Tyson as Rachel and Cherry.

Opening at Leicester’s Curve 20 Sep – 5 Oct, this bold new production of Hanif Kureishi‘s ground-breaking Oscar-nominated screenplay will be directed by Curve’s Artistic Director Nikolai Foster.

Following performances in Leicester My Beautiful Laundrette will then tour to

Everyman Theatre Cheltenham (8 – 12 Oct), Leeds Playhouse (15 – 26 Oct), Belgrade Theatre Coventry (29 Oct – 2 Nov) and Birmingham Repertory Theatre (5 – 9 Nov).

Set in London during the Thatcher years, My Beautiful Laundrette tells the story of young British Pakistani, Omar, who transforms his Uncle’s run-down laundrette into a thriving business. After being confronted by a fascist gang, Omar recognises school-friend Johnny and uses their history to diffuse the situation. As they renovate the laundrette together, love blossoms between them. This culture clash comedy is also a subversive work of social realism, sprinkled with magic and joy running through the rich veins of Kureishi’s writing.

Creative Team

Director – Nikolai Foster
Designer – Grace Smart
Lighting Designer – Ben Cracknell
Sound Designer – Tom Marshall
Fight Director – Kevin McCurdy
Casting Director – Kay Magson CDG

FULL CAST ANNOUNCED TO JOIN

MATTHEW BRODERICK

& ELIZABETH MCGOVERN

IN

Acclaimed Hollywood star Broderick making West End debut

By the celebrated writer of Oscar-winning Manchester-By-The-Sea

Cast also includes Jim Norton, Rosalind Eleazar and Sinead Matthews

Performances begin Thursday 16 May | Wyndham’s Theatre

Full casting has been announced to join Hollywood star and multiple Tony Award-winning Broadway legend Matthew Broderick in The Starry Messenger by Kenneth Lonergan, the Academy Award-winning writer of Manchester-By-The-Sea. The Starry Messenger will begin performances at the Wyndham’s Theatre on Thursday 16 May and play a strictly limited 13-week season.

Alongside Broderick – renowned for roles including Ferris Bueller in the iconic movie and Leo Bloom in The Producers – and the also previously-announced Elizabeth McGovern – known to millions for her portrayal of Lady Cora in the multi award-winning drama series Downton Abbey – will be Tony and Olivier Award-winnerJim Norton (Father Ted), Olivier Award-winner Jenny Galloway and Rosalind Eleazar (Howard’s End).

Completing the cast will be Joplin Sibtain, Sinead Matthews and Sid Sagar, in a production to be directed bySam Yates (Glengarry Glen Ross).

In the vastness of the universe are we all just lonely souls under the same night sky?

Mark Williams is lost. An astronomer at New York City’s Planetarium, he feels a closer connection to the infinite, starry sky than to his job or even to his wife, Anne. Mark doesn’t believe in fate or divine intervention, but the universe has other ideas.

After a chance meeting with Angela, a young single mother, the stars appear to have aligned. But when a catastrophic event rips through their lives, Mark is forced to re-evaluate his life, his faith and his place in the universe itself.

This bittersweet, comic drama is an unblinking exploration of love, hope and understanding our place in the universe, by one of the most celebrated writers working today.

The Starry Messenger is produced by Simon Friend Entertainment, Act Productions, Gavin Kalin, Howard Panter/Eilene Davidson and Rupert Gavin.

CELEBRATES 3RD BIRTHDAY ON BROADWAY
Music and lyrics by seven-time Grammy Award-nominee Sara Bareilles
Book by Jessie Nelson
Based upon the motion picture written by Adrienne Shelly
Directed by Tony Award-winner Diane Paulus

The London company of Waitress is wishing the New York production a happy birthday today as it enters its fourth year on Broadway, having opened at the Brooks Atkinson Theater on 24 April 2016. The hit show was the first ever Broadway musical in history to have four women in the four top creative team spots.

On its Broadway opening, Waitress was nominated for four Outer Critics’ Circle Awards, including Outstanding New Broadway Musical; two Drama League Award Nominations, including Outstanding Production of a Broadway or Off-Broadway Musical; six Drama Desk Nominations, including Outstanding Musical; and four Tony Award Nominations, including Best Musical.

The London production of Waitress had its official opening night at the Adelphi Theatre on 7 March where the Tony-nominated musical is now booking to 19 October.

Brought to life by a ground breaking, female-led creative team, the hit show features an original score by 7-time Grammy® nominee Sara Bareilles (Love Song, Brave), a book by acclaimed screenwriterJessie Nelson (I Am Sam) and direction by Tony Award® winner Diane Paulus (Pippin, Finding Neverland) and choreography by Lorin Latarro.

The production is currently touring the US and will have its Australian premiere in 2020 at the Sydney Lyric Theatre.

London’s brand-new smash hit musical comedy Waitressstars the sensational Katharine McPhee (Scorpion, Smash) as Jenna, a waitress and expert pie-maker who dreams her way out of a loveless marriage. When a hot new doctor arrives in town, life gets complicated. With the support of her workmates Becky and Dawn, Jenna overcomes the challenges she faces and finds that laughter, love and friendship can provide the perfect recipe for happiness. 

Alongside Katharine McPhee as Jenna, Waitress stars Jack McBrayer as Ogie, Marisha Wallace as Becky, Laura Baldwin as Dawn, Peter Hannah as Earl, David Hunter as Dr. Pomatter and Shaun Prendergast as Old Joe.

The full company includes Kelly Agbowu, Laura Baldwin, Piers Bate, Nicole Raquel Dennis, Michael Hamway, Peter Hannah, David Hunter, Stephen Leask, Jack McBrayer, Chris McGuigan, Katharine McPhee, Olivia Moore, Nathaniel Morrison, Sarah O’Connor, Leanne Pinder, Shaun Prendergast, Charlotte Riby, Marisha Wallace and Mark Willshire.

The Worst Witch 

flies into Birmingham Hippodrome

Packed with cauldrons full of original songs, magic and mayhem, The Worst Witch flies on to the Birmingham Hippodrome stage for the first time from Wed 22 – Sun 26 May. 

This new story, adapted for the stage from Jill Murphy’s original books by Emma Reeves (who won a Royal Television Society Award for Best Children’s TV Programme and 2017 British Screenwriters Award for Best Children’s Programme for the televised version of The Worst Witch) tells the story of an ordinary girl who finds herself in an extraordinary place: a school for witches.

Accident-prone Mildred Hubble and her fellow pupils leave a trail of mayhem behind them as they find themselves at the centre of a battle that’s being fought for their future.

Jill Murphy’s The Worst Witch stories have sold more than five million copies and been made into films and TV series by HBO, ITV and CBBC. There are now eight Worst Witch titles. The Worst Witch was made into a television series for ITV in the early 1990s and there is currently a major television series with CBBC.

The Worst Witch is directed by Theresa Heskins (2017 UK Theatre Award for Best Show for Children and Young People) and designed by Simon Daw, with music by Luke Potter.

Jill Murphy said: “My first trip to the theatre aged four, opened up a magical world – so real to me, that I had to be restrained from climbing onstage to help the children in peril! My mum was quite cross with me, but I never wanted the show to end and sang the songs loudly all the way home on the bus. Imagine how proud I feel, all these years later, seeing my own Mildred Hubble on stage with all the characters from Miss Cackle’s Academy. I still feel thrilled to bits when I go to the theatre and The Worst Witch is a magical production.“

Emma Reeves added: “We’ve created a brand new story as well as revisiting moments from the books. Jealous Ethel Hallow is out to spoil Mildred’s fun, and Miss Hardbroom is opposed to all fun in general. But, without giving too much away, Mildred faces a greater danger than she ever imagined as an old enemy returns, with a plan for revenge that could threaten not just the Academy, but the whole world…”

Theresa Heskins says: “We’ve seen the start of a rebalancing of power within our society and it feels like an important time to be creating a play about young women who are learning, collectively and individually, to use their power; and the danger if they decide to use it not for good but for ill.” 

The Worst Witch comes to Birmingham Hippodrome from Wed 22 – Sun 26 May. To book visit birminghamhippodrome.com or call 0844 338 5000 (4.5p per minute plus your phone company’s access charge). 

TANIKA GUPTA’S FRESH TAKE ON HARI HOBSON SEES HIM SET UP SHOP IN MANCHESTER’S NORTHERN QUARTER  

A Royal Exchange Theatre production

HOBSON’S CHOICE
By Harold Brighouse
In a new adaptation by Tanika Gupta
Directed by Atri Banerjee

31 May – 6 July 

Multi-award-winning writer Tanika Gupta has reimagined her 2003 adaptation of HOBSON’S CHOICE for the Exchange. In this sharp and witty retelling of Harold Brighouse’s classic take on family loyalty, we meet Hari Hobson, played by Tony Jayawardena (Ackley Bridge), who has fled Uganda to make a new life for his family in Manchester’s ever-changing Northern Quarter of the 1980s. This universal story explores family relationships and reflects the hopes, aspirations and disappointments of families everywhere who are trying to build a new life. Set in a city with a complex history of cotton and a striking feminist past we meet Durga Hobson (Shalini Peiris) who is determined to challenge the patriarchy and change the status quo. The Hobson family is completed by Maimuna Memon as Sunita Hobson and Safiyya Ingar as Ruby Hobson. HOBSON’S CHOICE runs in the Theatre from 31 May – 6 July.

Regrettably, due to unforeseen personal circumstances director Pooja Ghai has had to step away from this production, Atri Banerjee will take over as director. HOBSON’S CHOICE will be his directorial debut for the Exchange’s main-house. The Royal Exchange looks forward to welcoming Pooja back to Manchester in the future. Pooja commented…

“It’s been a delight to be able to assemble this exceptional cast and creative team, and it’s been a privilege to work for the Royal Exchange. I have full confidence that Atri will take the lead and fully realise Tanika’s wonderful adaptation.”

The HOBSON’S CHOICE cast is completed by Esh Alladi (Ali Mossop) who returns to the Exchange following his role in WIT, Raj Bajaj (Steve Da Silva), Tony Hirst (Jim Heeler), Gurjeet Singh (Robbie Singh), Avin Shah (Tubby Mohammed) and Yasmin Wilde (Dr Bannerjee/Pinky Khan).

Stage and screen actor Tony Jayawardena’s theatre credits have included WHITE TEETH (Kiln Theatre); YOUNG MARX (The Bridge Theatre); LIONS AND TIGERS (The Globe); TWELFTH NIGHT (The Globe) and THE TEMPEST (The RSC). His television credits include: ACKLEY BRIDGE, THE TUNNEL, HOLBY CITY, THE WINDSORS; STRIKEBACK and CUCKOO.

Director Atri Banerjee trained at Birkbeck and was previously Trainee Director at the Royal Exchange Theatre. His associate director credits for the Exchange include: WEST SIDE STORY, THE MYSTERIES and JUBILEE; and his assistant director credits include: HAPPY DAYS, THE ALMIGHTY SOMETIMES and OUR TOWN. He has also just finished an assisting role on THE SON (Kiln Theatre). His directing credits include: TAMASHA SCRATCH NIGHT: THE PLAYWRIGHTS 2018 (Soho Theatre), A PIECE OF MONOLOGUE (Royal Exchange Theatre), THE COMEDY OF ERRORS (Japan and UK tour), SIX CHARACTERS IN SEARCH OF AN AUTHOR (C Venues, Edinburgh Festival Fringe and ADC), BIG MAC (Sweet ECA, Edinburgh Festival Fringe). He is currently on the Almeida Resident Director Scheme.

Over the past 15 years Tanika Gupta has written over 20 stage plays that have been produced in major theatres across the UK and has written extensively for BBC Radio drama. Her play LIONS AND TIGERS (Globe Theatre) directed by Pooja Ghai received the James Tait Black Award for Drama 2018. Her other theatre credits include: MIDSUMMER NIGHT’S DREAM (Globe Theatre –Dramaturg); ANITA AND ME (Birmingham Rep); LOVE N STUFF (Theatre Royal Stratford East); THE EMPRESS (Royal Shakespeare Company), WAH! WAH! GIRLS – A BRITISH BOLLYWOOD MUSICAL (Sadler’s Wells); MINDWALKING (Bandbazi Theatre); GREAT EXPECTATIONS (Watford Palace Theatre/English Touring Theatre); MEET THE MUKHERJEES (Bolton Octagon Theatre); WHITE BOY (National Youth Theatre/Soho Theatre); SUGAR MUMMIES (Royal Court Theatre); GLADIATOR GAMES (Sheffield Crucible Theatre); HOBSON’S CHOICE (Young Vic); FRAGILE LAND (Hampstead Theatre); INSIDE OUT (Clean Break); SANCTUARY, BRECHT’S THE GOOD WOMAN OF SETZUAN and THE WAITING ROOM (National Theatre); SKELETON (Soho Theatre) and A RIVER SUTRA (Indoza).

MULTI AWARD-WINNING MISCHIEF THEATRE RETURN ON TOURWITH ANOTHER COMEDY DISASTER ‘PETER PAN GOES WRONG’

UK TOUR FROM 19 OCT 2019 UNTIL SPRING 2020

CHRISTMAS SEASON AT ALEXANDRA PALACE THEATRE, LONDON: 13 DEC 2019 – 5 JAN 2020

Mischief Theatre, the multi award-winning theatre company responsible for the worldwide smash hit The Play That Goes Wrong, today announces a new national tour of their other West End comedy calamity, Peter Pan Goes Wrong. Opening at the Everyman Theatre, Cheltenham on Saturday 19 October 2019, the production will tour to over 15 venues nationwide through to Spring 2020, including a Christmas season at Alexandra Palace Theatre in London from Friday 13 December 2019 to Sunday 5 January 2020. Tickets for Alexandra Palace Theatre go on sale from today.

Co-written by Mischief Theatre company members Henry Lewis, Jonathan Sayer and Henry Shields, Peter Pan Goes Wrong is a highly physical comedy packed with finely-tuned farce and Buster Keaton inspired slapstick, delivered with split-second timing and ambitious daring. The play sees the ‘Cornley Polytechnic Drama Society’ back on stage battling technical hitches, flying mishaps and cast disputes as they attempt to present J.M Barrie’s much-loved tale. But will they ever make it to Neverland?

‘We are going to do it again and again and again until the cast finally get it right’ – Producer Kenny Wax

Nominated for an Olivier Award for ‘Best New Comedy’ in 2016, Peter Pan Goes Wrong has enjoyed two West End seasons, a tour of Australia and New Zealand and a UK tour. A one-hour version of the show was broadcast on primetime BBC One in December 2016, starring David Suchet as the guest narrator and watched by an audience
of over six million worldwide.

Mischief Theatre was founded in 2008 by a group of graduates of The London Academy of Music and Dramatic Art (LAMDA) and began as an improvised comedy group. Mischief Theatre performs across the UK and internationally with improvised and original scripted work. Current productions include: The Play That Goes Wrong which is now booking into its 5th year in the West End at the Duchess Theatre and also touring the United States, following a two year run on Broadway and two sold out UK tours; The Comedy About A Bank Robbery, which is now in its 3rd year in the West End at the Criterion Theatre and also touring the UK. Their forthcoming ‘Mischief Season’, a year-long West End residency at the Vaudeville Theatre, will premiere three new comedies: Groan Ups from September 2019 and Magic Goes Wrong from 14 December. The third production has yet to be revealed. Mischief have also recently announced a brand new six-part television series for BBC One, The Goes Wrong Show, written and starring the original founding Mischief Theatre members. Filming begins in March 2019, broadcast dates yet to be announced. Mischief Theatre is led by Artistic Director Henry Lewis and Company Director Jonathan Sayer

Peter Pan Goes Wrong is directed by Adam Meggido, with set designs by Simon Scullion, costumes by Roberto Surace, lighting by Matt Haskins and sound by Ella Wahlstrom. Casting to be announced. Peter Pan Goes Wrong is produced by Kenny Wax Ltd and Stage Presence Ltd. A donation from every ticket sold is given to Great Ormond Street Hospital.

Tour Listings Information:

PETER PAN GOES WRONG – UK TOUR 2019/20

Sat 19 Oct – Sat 2 Nov CHELTENHAM Everyman Theatre
Mon – Sat eves: 7.30pm Regent Street, Cheltenham GL50 1HQ
Thu & Sat mats: 2pm (exc 19 Oct) Box Office: 01242 572573 | everymantheatre.org.uk
Tue 5 – Sun 10 Nov CARDIFF New Theatre
Tue – Sat eves: 7.30pm Park Place, Cardiff CF10 3LN
Thu, Sat, Sun mats: 2.30pm Box Office: 029 2087 8889 | newtheatrecardiff.co.uk
Tue 12 – Sat 16 Nov CAMBRIDGE Arts Theatre
Tue – Sat eves: 7.45pm 6 St Edward’s Passage, Cambridge CB2 3PJ
Thu & Sat mats: 2.30pm Box Office 01223 503333 | cambridgeartstheatre.com
Tue 19 – Sun 24 Nov BRIGHTON Theatre Royal
Tue – Sat eves: 7.45pm New Road, Brighton, East Sussex BN1 1SD
Thu, Sat, Sun mats: 2.30pm Box Office 0844 871 7650 | atgtickets.com/brighton
Tue 26 Nov – Sun 1 Dec BATH Theatre Royal
Tue – Sat eves: 7.30pm Sawclose, Bath BA1 1ET
Wed, Thu, Sat & Sun mats: 2.30pm Box Office: 01225 448844 | theatreroyal.org.uk

Tue 3 – Sat 7 Dec SALFORD QUAYS The Lowry
Tue – Sat eves: 7.30pm Pier 8, Salford Quays M50 3AZ
Wed, Thu & Sat mats: 2.00pm Box Office: 0843 208 6000 | thelowry.com
———————— CHRISTMAS SEASON ———————
Fri 13 Dec – Sun 5 Jan LONDON Alexandra Palace Theatre
See full listings below Alexandra Palace Way, London N22 7AY

Box Office: 0871 220 0260 | theatre.alexandrapalace.com

Tue 14 – Sat 18 Jan WOKING New Victoria Theatre
Tue – Sat eves: 7.30pm The Ambassadors, The Peacocks Centre, Woking GU21 6GQ
Wed, Thu & Sat mats 2.30pm Box Office: 0844 871 7645 | atgtickets.com/woking

Tue 21 – Sun 26 Jan CHESTER Storyhouse
Tue – Sat eves: 7.30pm Hunter Street, Chester CH1 2AR
Wed, Sat & Sun mats 2.30pm Box Office: 0844 815 7202 | storyhouse.com
Tue 28 Jan – Sat 1 Feb SHEFFIELD Lyceum Theatre
Tue – Sat eves: 7.45pm 55 Norfolk Street, Sheffield S1 1DA
Wed, Thu mats 2pm; Sat mat 3pm Box Office: 0114 249 6000 | sheffieldtheatres.co.uk
Tue 4 – Sat 8 Feb MILTON KEYNES Theatre
Tue – Sat eves: 7.30pm 500 Marlborough Gate, Milton Keynes MK9 3NZ
Wed, Thu & Sat mats 2.30pm Box Office: 0844 871 7652 | atgtickets.com/miltonkeynes
Tue 11 – Sun 16 Feb EDINBURGH Festival Theatre
Tue – Sat eves: 7.30pm 13-29 Nicolson St, Edinburgh EH8 9FT
Thu & Sat mats 2.30pm; Sun mat 2pm Box Office: 0131 529 6000 | capitaltheatres.com
Further tour dates for 2020 to be announced.
London Christmas Season Listings Information:
PETER PAN GOES WRONG
Alexandra Palace Theatre
Alexandra Palace Way, London N22 7AY
Fri 13 Dec – Sun 5 Jan
Box Office: 0871 220 0260*
*Calls cost 13p per minute plus network extras
Website: peterpangoeswronglive.com | theatre.alexandrapalace.com
Performance Times:
Fri 13 Dec 7:30pm
Sat 14 Dec 2:30pm | 7:30pm
Sun 15 Dec 3pm | 7pm
Mon 16 Dec No performance
Tue 17 Dec No performance
Wed 18 Dec 7:30pm
Thu 19 Dec 2:30pm | 7:30pm
Fri 20 Dec 7:30pm
Sat 21 Dec 2:30pm | 7:30pm
Sun 22 Dec 3pm | 7pm
Mon 23 Dec 7:30pm
Thu 26 Dec 3pm | 7pm
Fri 27 Dec 7:30pm
Sat 28 Dec 2:30pm | 7:30pm
Sun 29 Dec 3pm | 7pm
Mon 30 Dec 7:30pm
Tue 31 Dec No performance
Wed 1 Jan 7:30pm
Thu 2 Jan 2:30pm | 7:30pm
Fri 3 Jan 7:30pm
Sat 4 Jan 2:30pm | 7:30pm
Sun 5 Jan 3pm | 7pm
Prices: Tickets from £20
Age: recommended 8+
Running Time: 2 hrs 10 (inc a 20 minute interval)

MAMMA MIA! THE PARTY

TO HOLD OPEN AUDITIONS

TO FIND YOUNG MALE LEAD

Executive producer Björn Ulvaeus and producer Ingrid Sutej are looking to find a young male performer to play ‘Adam’, one of the lead roles in MAMMA
MIA! THE PARTY at London’s O2.  Open Auditions will be held on Thursday 2 May 2019.  The exciting new immersive theatrical dining experience will begin performances in London from 29 August 2019.

Björn Ulvaeus, Executive Producer, said, “We are excited to bring this new entertainment experience to London and we are looking to find a young male lead with a pop music background who has natural charm and charisma along with just the right amount of ‘cheeky’ humour.  If you think that you are the right person and sing, act and dance, please come and meet us on Thursday 2 May.”

AUDITION DETAILS

If you like to entertain and get the party started, then this is the show for you.  If you are interested in the role, you will need to be able to sing, act and move just a little.  An ability to play the guitar would be useful but not essential.

Vocal Range:   Baritone/Tenor

Playing Age:    22 – 28 yearsCharacter:      Adam is a cool, charismatic, charming guy with pop idol looks and a strong pop voice (not musical theatre).  Adam is visiting his aunt Kate                             and her husband Nikos on the island of Skopelos.  He is the type of ‘bad boy’ women love and has been known to break a few hearts in his                          time.  He is staying on the island for a couple of months, working as a bartender in Nikos’s taverna.  He is enjoying his summer and is young,                     free and single until he meets Konstantina.  As they get to know each other, they fall in love and Adam realises that his heart belongs to                                her…..  much to her father’s horror.

Date:            Thursday 2 May 2019

Venue:          Pineapple Dance Studios, 7 Langley St, London WC2H 9JA

Please bring a pop song of your choice that shows off your voice (with sheet music – no backing tracks or acapella songs please), along with a CV and headshot stapled back to back.

Please email any questions or submissions to [email protected] with subject line “Adam Auditions”.

REGISTRATION COMMENCES AT 10:00 AND CLOSES AT 13:00

PRODUCTION DATES

Rehearsals:       Monday 15 July 2019

1^st Preview:       Thursday 29 August 2019

Opening Night:  Thursday 19 September 2019

PERFORMANCE SCHEDULE

Wednesday to Monday Evenings:       Doors open at 6.30pm for a 7.30pm performance

Saturday and Sunday Matinees:          Doors open at 12.00noon for a 1.00pm performance

The Lowry, Salford Quays, Manchester – until Saturday April 27th 2019

Reviewed by Julie Noller

4****

Home, I’m Darling written by award winning playwright and screenwriter Laura Wade is a multi dimensional at times slapstick at others sad but always clever and extremely witty backwards and upside view of the lives of two couples. It’s impossible to dissect fully, and you’ll find yourself using the words maybe and perhaps more than once. If you are, or know, an amateur psychologist or even enjoy sitting outside in the sunshine drinking coffee and gazing around as people go about their lives then Home, I’m Darling like me you will absolutely adore.

First premiered on July 3rd 2018 at Theatre Clwyd it’s slowly building a reputation not only for wonderful dialog but the set and costume designs overseen by Tamara Harvey are deliciously kitsch, there’s doors and walls that revolve and disappear, fluffy swishing skirts. Home, I’m Darling shines the spotlight on relationships and at times pops them under a microscope to highlight those cracks that may lie under the surface.

As we took to our seats the music playing is 1950’s Rock and Roll, my teenage daughter actually said she liked it and according to her all music over a year old is outdated. She was worried she wouldn’t understand the humour yet she did telling me of Judy’s many glares that’s the look you give Dad when he’s in a mood – whoops. There are only six characters throught out the play not all interact together but they highlight perfectly how different we all are, how boring life would be if we were mini robots going along each day but that’s an idealised belief and somehow for Judy she becomes fixated in her groundhog day life.

Poor Judy who grew up in a commune with lentil lasagne and women’s rights, where it became the norm to disagree against any sense of rhythm or routine. Where her Mother protected her from her Fathers wondering eye and she idolises him. Judy is played wondrously by Katharine Parkinson who’s head turns and glares are sometimes all it is needed to have the audience in stitches. The one liners throughout the whole play are intelligent quips that bring about a sense of reality.

Judy who found herself redundant from her high flying, high paying career. Sells herself to husband Johnny the downtrodden and dedicated Jo Stone-Fewings, she wants to be a 1950’s housewife. Staying at home mixing cocktails and warming his slippers before serving dinner for when he returns from work. It will be an experiment for three months see how it goes, alas a year later and it’s become an obsession. As Johnny finally breaks and points out when did they start living for the 1950’s and less about themselves as a couple. It’s interesting to note how instead of feeling poor downtrodden Judy the audience is seeing poor downtrodden Johnny; almost controlled by Judy not allowed to even take his wife a cup of tea in bed and he always enjoyed that simple thing. He isn’t a chauvinist and yet he feels exactly that.

Susan Brown is Sylvia, Judy’s freedom loving Mother, wanting her daughter to rise to the top, this experimental rebellious lifestyle isn’t what she fought for. She and Judy are so alike in being fixated, set in their views. Sylvia’s rousing speech towards the end deserved it’s round of applause, she tells Judy how even the 1950’s wasn’t like the movies, how Judy believes in a comic book world, the 1950’s were cold and depressing how girls only helped their Mothers in the kitchen to stand by the oven to get warm. She speaks so many home truths, it’s scary to hear the reality. It is even more scary to watch as Judy fails to respond instead she hasn’t even heard her Mother perhaps years of failing to listen has affected them both.

Then there’s Fran and Marcus (Siubhan Harrison and Hywel Morgan) close friends and fellow 1950’s enthusiasts yet for them everything is more relaxed more of a hobby, money means they enjoy the time more but it’s not a fixation. However things are not always as they seem and we are reminded once again in life that things behind closed doors are not always as they appear or we would like. Finally there’s Alex, the yuppy-esq Sara Gregory who is everything Judy used to be and no wonder Johnny feels himself drawn to her, Judy he says has lost her sharpness. He loved her mind how she used to argue with him and keep him on his toes.

Ultimately I think Home, I’m Darling is too clever for itself, its backwards title hinting at how mixed up life can become. Those little one liners having the different sections of the audience laughing and giggling. At one point the immortal sentence ‘but what do you do all day’ is uttered and you inhale just in case chairs will be ripped up and the collective females will riot. At the end you realise that life is all about give and take and for any of us to succeed at it, we need to live a little embracing change and allowing our love of something or someone to become intertwined with us but not be our essence.