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Mayflower Theatre Southampton – until 16th March 2019

Reviewed by Leanne Caplis

5*****

Wow just wow! I bow down to Tim Firth for his writing of the musical The Band. Bringing together the well-known music of one of my all-time favourite boy bands Take That with a spectacular story line makes this a first-class production.

Growing up in the North West of England in the 90’s five young girls look forward to Top of The Pops every Thursday, so they can sing along to ‘The Band’. Their Smash Hit posters cover all available wall space and after seeing ‘The Band’ in concert the young girls make a pact to always stay in touch. But that night tragedy strikes, and they lose touch for 25 years.

Fast forward to present day when the adult Rachel (Rachel Lumberg) wins a radio competition to see ‘The Band’ again. Is meeting up with her old friends the right thing to do? Will they be able to put the wrongs of the past right?

This true to life production, which will see everybody being able to relate to the life events, brings out every emotion. One minute I was singing along to Take That songs, the next snivelling into a tissue and the next laughing out loud. It really does have something for everybody.

Hats off to the creative team for the staging which was astonishing. It was wonderful to see the scenes change between a bedroom, a school locker room, a concert venue and a jail. The cast shifted the set about the stage with ease. The way the many props were used was thrilling to watch and two that really stood out for me were the aeroplane and the bus.

The cast were all superb. Not surprisingly the boys had the audience singing and dancing; it was like being at a real concert at times although the lights could occasionally be dazzling. It was clear to see why they won Let it Shine in 2017. AJ,Curtis, Yazdan, Nick and Sario are boy band material.

For me the star of the show was Andy Williams who played every Dave. I looked forward to him appearing on stage to see what he would do next. Andy received one of the biggest cheers at the end, so I would say a lot of the audience thought the same. I also thought adult Rachel (Rachel Lumberg) was able to delivery very believable emotion with Alison Fitzjohn having impeccable comedy timing.

The sing-a-long finale was my favourite part. The whole theatre was on its feet and the floor in the circle was shaking with the feet stamping, hand clapping and dancing!

This shows is absolutely first class. It will have you singing, crying and laughing. A concert and a real-life story that is not to be missed. Having watched many shows this show sits firmly in my top 3!

‘Home, I’m Darling’ to play at The Lowry as part of limited UK Tour

The National Theatre and Theatr Clwyd’s critically acclaimed co-production of Home, I’m Darling embarks on a limited UK Tour this Spring.  Laura Wade’s fizzing comedy about one woman’s quest to be the perfect 1950’s housewife will take to The Lowry stage from Tue 23 – Sat 27 April. 

This new play by Laura Wade, is directed by Theatr Clwyd Artistic Director Tamara Harvey and features Katherine Parkinson (The IT Crowd, Humans) in the role of Judy. Home, I’m Darling is co-produced in the West End and on tour with Fiery Angel. 

How happily married are the happily married?  Every couple needs a little fantasy to keep their marriage sparkling. But behind the gingham curtains, things start to unravel, and being a domestic goddess is not as easy as it seems. 

The set designer is Anna Fleischle, whose recent work for theatre includes ‘A Very, Very, Very Dark Matter’ at the Bridge Theatre, ‘The Writer’ at the Almeida Theatre, ‘Hangmen’ at the Royal Court, West End and on Broadway, and ‘Everybody’s Talking About Jamie’ at the Apollo Theatre. Lighting design is by Lucy Carter, sound design by Tom Gibbons, choreography by Charlotte Broom with Sean Gleason as Associate Lighting Designer, and Hannah Noone as Resident Director. 

Katherine Parkinson’s stage roles include Season’s Greetings for the National Theatre; Dead Funny at the Vaudeville Theatre; Before The Party at the Almeida Theatre; Absent Friends at the Harold Pinter Theatre; School for Scandal at the Barbican; Cock and The Seagull at the Royal Court. Her television roles include Humans, The IT Crowd, Hang Ups, The Kennedys, The Honourable Woman, Inside Number 9, In The Club, Sherlock and Psychoville. In film she has appeared in The Guernsey Literary and Potato Peel Society, The Boat That Rocked, St Trinians 2, How to Lose Friends and Alienate People and Easy Virtue.

 

Laura Wade’s work includes Posh at the Royal Court and in West End, which was later turned into the film The Riot Club for which she wrote the screenplay; an adaptation of Tipping the Velvet at Lyric Hammersmith; Kreutzer vs Kreutzer; and an adaptation of WH Davies’ Young Emma which opened at the Finborough Theatre (where she was a Pearson Writer-in-Residence) in 2003, directed by Tamara Harvey. In 2006 Laura won the Pearson Most Promising Playwright Award and was nominated for an Olivier Award for Outstanding Achievement in an Affiliate Theatre for Colder Than Here and Breathing Corpses. 

Tamara Harvey became Artistic Director of Theatr Clwyd in 2015. Her work for the company includes Much Ado About Nothing, the première of Elinor Cook’s award-winning play, Pilgrims, David Hare’s Skylight and Peter Gill’s new version of Uncle Vanya. Before joining Theatr Clwyd Tamara was a freelance director for fifteen years, working in the West End, throughout the UK and abroad on classic plays, new writing, musical theatre and in film. Beginning her career at Shakespeare’s Globe, she has also directed at, amongst others, Hampstead Theatre, Bush Theatre, St James Theatre, Finborough Theatre, Trafalgar Studios, Menier Chocolate Factory, Birmingham Rep, West Yorkshire Playhouse, Theatre Royal Northampton and Shakespeare Theatre of New Jersey. 

This production is supported by American Express, the National Theatre’s Preferred Card Partner. 

Listings Information
Home, I’m Darling
Dates: Tue 23 – Sat 27 April
Times: 7.30pm. Wed & Sat at 2pm
Tickets: £24.50 – £32.50
Website

Richmond Theatre – until 16 March 2019

Reviewed by Prachya Van de Gevel

4****

I am a great lover of a good mystery, so was very excited to see this play.

The staging was excellent as the stage transformed from the station into the train where our mystery begins. On a train journey from Vienna to Zurich a young lady Iris played by Lorna Fitzgerald befriends an middle aged Mrs Froy played by Juliet Mills, who incidentally is joined on stage by Maxwell Caulfield her husband playing the role of Dr Hartz. Iris is joined by Max (Matt Barber) and duo sets out on the mission to prove she is not going crazy and track down the mystery of the lady vanishes.

Now I am no stranger to enjoying a little Agatha Christie , and I am sad to say I figured out what was going on quite quickly. I had never seen the film nor even heard of this play until tonight. The acting on the whole was just okay, maybe it was nerves or over acting, whilst the scenes moved on well there was not a lot of subtle tones in any of the actors. Perhaps this is needed to convey the multitude of characters on the stage, a rabble including a magician, (Mark Carlisle) a couple having an affair and trying not to be rumbled and just do not want to get caught up in the whole messy affair, and a pair of stereotypical Englishmen chattering on and on and on about cricket…

The duo act played by Robert Duncan and Philip Lowrie, originally provided much needed humour to lighten the Nazi themed overtones of the play. But the cricket act gets old fast, much like hearing friends chatter about the same football game for hours on end. I enjoyed very much the music of Schubert which plays a central role and a common theme throughout the play, there may have been some issues with the theatre’s speaker system as I had great trouble hearing some of the lines in German, the accents a little ropy to be honest, but added to to some of the humour.

I very much enjoyed the performance on a whole, there was no real stand out performances for me as the cast all interacted well together and each scene transitioned seamlessly. If your in the mood for a little mystery then I suggest checking this play out, but do not read any spoilers as you will ruin it for yourself! The acting won’t win any awards, but the audience will enjoy the thrill of the ride.

Yang Sing restaurant, Manchester- until Saturday 16th March

Reviewed by Joseph Everton

4****

From Shore to Shore combined music, theatre, a two course Chinese meal and delivered an entertaining evening which was different to any that I have experienced before. Set in Manchester’s Yang Sing restaurant, the performance told the stories of three children, battling their way into adulthood through trials and tribulations, ending up finding home and happiness in England, Leeds to be exact, but not without suffering from racism, a language barrier and a host of family issues.

Cheung Wing, played by Ozzie Yue and Matt Lim, estranged from his beloved mother, bought and worked until rescued by his uncle, told a heartbreaking tale of an old man recalling his escape from war. The story of his humble beginning was touching as he explained that because he knew what it was like to be starving, he knew what it meant to be fed. Yi Di (Luna Di), on the other hand, did not long for the return of a parent, but for their approval, with the weight of her father’s expectations laying heavily on her shoulders. The stories of these two characters and their families were carefully interwoven with that of Mei Lan who grew up working in the family takeaway in Leeds, listening from the basement as her mother was beaten by an abusive father and husband. At the end of the play, Ozzie Yue’s Cheung Wing tied all of the loose ends of a complex tale together, explaining an intriguing and satisfying link between the three main characters.

Mary Cooper and MW Sun’s work, which danced between English, Cantonese and Mandarin, managed to successfully tell three distinct stories with only subtle changes in the set and lighting. Restricted by the choice of venue and limited staging, it might have been challenging to follow, but by virtue of being well acted, directed and laced with song, the performers were able to keep the audience engaged.

Although I exited the venue feeling unsure about my first experience of steamed Cantonese style omelette, I am sure that From Shore to Shore will have left a lasting impression on me, a greater appreciation of the stories of Chinese immigrants to Britain and the challenges they may have faced in China and on arriving in a new home. From Shore to Shore was a well told and entertaining story that is not told enough.

Wales Millennium Centre – until 16th March 2019

Reviewed by Alex Browning

5*****

The Full Monty – Cheeky from start to finish

Based on the original chart-topping film Simon Beaufoy perfectly adapts the film for the stage. The Full Monty, a tale of six unemployed men from Sheffield, is set in the 1980’s on introduction to the performance is clearly prepared as the curtains open to reveal a vintage tv airing a scene-setting show. Shortly interrupted by the introduction of three of the main characters, Gary Lucy as Gaz, Fraser Kelly as Nathan and Kai Owen as Dave

The set of the show was very well executed with very little elements changing through the performance, yet still easily representing separate locations through the story. Even though this performance, for the most part, is a fantastic comedy, there is the addressing of a few important, more serious issues. Such as Joe Gill as Lomper who addresses the issues of mental health and later on the addressing of sexuality, which for the time setting of the performance is fantastically approached.

Then before act one comes to an end they have a very laughable scene involving some common garden gnomes, and then a very cheeky end to the scene. After a short interval, the show starts up in a very prompt fashion with the boys all enjoying a spot of dancing. The music through the show, and up to this point has been hit after hit, leading up to a spectacular finale song. The performance was fantastic overall, and the cast was all wonderful, even when they all change the scenery and interact with each other.

For the Grande-finale stage flipped, and the audience changed the view from onlooker to club audience, in an amazing twist we were transported to the local working men’s club, to see the buns of steel. With the intro to the song, You Can Leave Your Hat On, five of the six men enter the stage, all in fantastic costumes resembling men in uniform. The audience was encouraging to scream and shout and show all sorts of appreciation. The performance was a showstopper and left the crowd roaring. With the big ending of the show ending in all six of the men showing the real Full Monty.

Overall this was a real 5* performance leaving the whole audience in laughter and in awe of what was left to the imagination

Grand Opera House York – Monday 11th March 2019

Reviewed by Michelle Richardson

3***

The story of Elmer, in its current format, is celebrating his 30th birthday. He has entertained young children through books and television, and now brings a brand new stage adaption to theatres across the UK. Yesterday I took 2 grandchildren aged 2 ¾ and 20 months as it is advertised as being suitable for over 1’s.

Elmer is not your usual grey elephant, no, he is multicoloured, a vibrant feast of many colours in a patchwork formation, completely different to the rest of the herd. Usually he is bright and has a playful streak, but he has hit a low point and is tired of being the odd one out, different, he wants to be like all the others. He sets out on a quest to hide but ultimately he discovers and accepts who he really is.

Bought to life by three puppeteers, Elmer encounters monkeys, zebras, birds, frogs, a giraffe and a lion on his travels, singing and dancing away. He misses the herd and goes back in camouflage, turning himself grey, but he does not fool any of them, they know it is Elmer. He soon realises that they accept him for who he is and his colour is part of him, and what makes him special. This is a strong message for the audience, even if they are way too young to understand.

When the show first started my two boys were mesmerized and loved seeing all the colour and puppetry. It was a nice bright stage, with excellent puppets, and I enjoyed hearing the different accents as the puppeteers took on the different animals. They did an excellent job of switching between animals, slipping into characters with ease.

Unfortunately the show did not quite hit the mark and it did drag on, not keeping us entertained for the whole time. I believe that this was due to the lack of audience participation, there were hardly any of us singing along. Unfortunately, there were not enough bums on seats to join in with the singing and dancing, though I did try and involve my two, which was hard. Perhaps the audience were just too reserved? I would have loved to have seen a packed theatre as I believe that would have made a huge difference to the show and would have enhanced the theatre experience no end. It is such a shame, you are never to young, or old for that matter, to enjoy theatre.

Yvonne Arnaud Theatre, Guildford – until 16th March 2019

Reviewed by Antonia Hebbert

2**

Two playwrights are on a luxury liner to New York. Their latest collaboration is due to be performed when they arrive, but they’re still working on it. Also on board are Adam, the show’s sensitive young composer, Natasha the leading lady that he loves, and Ivor the leading man who is pursuing her. The composer has a speech problem: he can’t get his timing right. And the cabin steward doesn’t know his way around a boat.

Things duly go comically wrong, but somehow it is hard to care, for the first half at least. Tom Stoppard based this 1984 play on Ferenc Molnar’s 1926 romantic comedy Play at the Castle. You might expect Stoppard’s playfulness to enhance the comedy, but it actually seems to flatten it without adding other interest. Charlie Stemp raised the most laughs as Dvornichek the cabin steward, whose role is to misunderstand things while also explaining to the audience exactly what’s going on.

In the second half, I did find myself laughing at some of the one-liners. The composer (Rob Ostlere) can talk sense again, and in the last ten minutes or so the play becomes more fun, not just because the cast can see the end in sight. Turai the playwright (John Partridge) has told the (unseen) captain how to steer, and the captain sorts out the playscript.

The set is a beauty: two decks of a ship with walls that slide back to reveal a luxurious cabin interior, and realistic views of stormy weather in the second half (design by Colin Richmond). There are some songs by Andre Previn, but the music seemed halfhearted until the end when Stemp and Simon Dutton (Ivor) took to the piano and everything ended with a jolly dance routine.

The Worst Witch flies into Salford with an action packed new adventure for the stage.

Kenny Wax Family Entertainment, Novel Theatre and Nica Burns present the Royal & Derngate, Northampton Production of The Worst Witch which comes to The Lowry from Tue 26 – Sun 31 March.

This original story written for the stage by Emma Reeves features an all-female cast and is based on Jill Murphy’s classic series of novels ‘The Worst Witch.’ Directed by Theresa Heskins and designed by Simon Daw, with music by Luke Potter.

‘The Worst Witch’ is 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.

Featuring Jill Murphy’s much-loved characters, the production features original songs, music, magic and a dose of Mildred’s unique brand of utter pandemonium.

Playing the hapless Mildred Hubble is Danielle Bird, whose recent stage credits include ‘The Hypocrite’ (Royal Shakespeare Company/Hull Truck) and ‘Macbeth’ (Shakespeare’s Globe). Taking the roles of Agatha and Miss Cackle is UK Theatre Award-winning actorPolly Lister whose credits include ‘The Snow Queen’ (New Vic Theatre, Newcastle-under-Lyme) and ‘Great Expectations’ (Derby Theatre). Rachel Heaton (‘Passing,’ Bunker Theatre) plays Miss Hardbroom. Rebecca Killick (‘Pink Mist’ Bristol Old Vic) plays Maud, Rosie Abraham (‘Peter Pan Goes Wrong,’ West End and tour) plays Ethel, and Consuela Rolle (‘Remember, Remember’ The Other Palace) plays Enid. The cast is completed by Molly-Grace Cutler as Miss Bat/musician. Megan Leigh Mason as Miss Drill/musician, Emma Lau as Drusilla and Meg Forgan as Fenella/musician.

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.
 
Jill Murphy says, “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 on stage to help the children in peril! My Mum was quite cross with me, but I never wanted the story to end and sang 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.”

Listings Information 
The Worst Witch 
Dates: Tue 26 – Sun 31 March
Times: 7pm. Sat & Sun – 2pm. Thu 1.30pm.
Tickets: £26.50 – £28.50. Concessions £3 off.
Age Guidance: 7+
Running time: Approx. 2 hours 10 minutes including interval

LOUISE REDKNAPP RE-JOINS

DOLLY PARTON’S

9 TO 5 THE MUSICAL

IN THE ROLE OF ‘VIOLET NEWSTEAD’

AT THE SAVOY THEATRE FROM

25 MARCH – 29 JUNE 2019

Louise Redknapp will re-join the cast of 9 TO 5 THE MUSICAL in the role of ‘Violet Newstead’ at the Savoy Theatre, London from 25 March until 29 June 2019. 9 TO 5 THE MUSICAL opened in the West End last month, where Dolly Parton attended the premiere and joined the cast on stage at the finale. The show is booking at the Savoy Theatre until 31 August 2019.

Louise Redknapp most recently starred as ‘Sally Bowles’ in the national tour of “Cabaret”. In 2016 she reached the final of “Strictly Come Dancing”. As a musician Louise has sold millions of records. She was a member of the band Eternal before embarking on a highly successful solo career, with her first live shows in 15 years selling out all over the UK.

Louise joins Amber Davies as ‘Judy Bernly’, Natalie McQueen as ‘Doralee Rhodes’, Bonnie Langford as ‘Roz Keith’ and Brian Conley as ‘Franklin Hart’.

The cast also includes Victoria Anderson, Alexander Bartles, Ashford Campbell, Simon Campbell, Rhiane Drummond, Demmileigh Foster, Llandyll Gove, Lucinda Lawrence, Jenny Legg, Christopher Jordan Marshall, Jacob Maynard, Natasha Mould, Sean Needham, Jon Reynolds, James Royden-Lyley, Giles Surridge, Sasha Wareham and Emily Woodford.

9 TO 5 THE MUSICAL features a book by Patricia Resnick, the legendary film’s original screenwriter, and an original Oscar, Grammy and Tony award-nominated score by country legend and pop icon Dolly Parton. It tells the story of Doralee, Violet and Judy – three workmates pushed to boiling point by their sexist and egotistical boss. Concocting a plan to kidnap and turn the tables on their despicable supervisor, will the girls manage to reform their office – or will events unravel when the CEO pays an unexpected visit? Inspired by the cult film this hilarious new West End production is about teaming up, standing up and taking care of business!

9 TO 5 THE MUSICAL is written by Patricia Resnick, with music and lyrics by Dolly Parton. It is directed by Jeff Calhoun, choreography by Lisa Stevens, design by Tom Rogers, lighting design by Howard Hudson, musical supervision, arrangements and orchestrations by Mark Crossland, musical direction by Andrew Hilton and casting by Victoria Roe.

9 TO 5 THE MUSICAL Original Broadway Cast Recording is planned for re-release via Dolly Records/Sony Music.

Based on the 20^th Century Fox Picture. Originally produced on Broadway by Robert Greenblatt, April 2009.

9 TO 5 THE MUSICAL is produced by Ambassador Theatre Group and Selladoor Worldwide with Gavin Kalin Productions, Glass Half Full Productions, Showtime Theatre Productions, Hartshorn – Hook Productions and Kilimanjaro Live.

THE FULL MONTY REVEALS ALL AT LEEDS GRAND THEATRE

• STARRING GARY LUCY, ANDREW DUNN, LOUIS EMERICK, JOE GILL, KAI OWEN and JAMES REDMOND

The ‘lunchbox’ has landed; Leeds audiences are invited to leave their hat on for the return of The Full Monty toLeeds Grand Theatre from Monday 25 to Saturday 30 March 2019.

Telling the story of six out-of-work, impoverished steelworkers from Sheffield with nothing to lose, The Full Monty (based on the highly acclaimed, smash hit film by Oscar-winning writer Simon Beaufoy) has become one of Britain’s most successful stage shows featuring iconic songs by Donna Summer, Hot Chocolate and Tom Jones (amongst others).

Produced by multi-award winning theatre producers David Pugh & Dafydd Rogers, and directed by Rupert Hill,the all-star cast will be led again by Gary Lucy (Hollyoaks, EastEnders, The Bill, Footballers’ Wives, winner ofDancing On Ice). Joining Lucy is: Andrew Dunn (Dinnerladies, Bremner, Bird & Fortune) as Gerald; Louis Emerick(Coronation Street, Benidorm, Brookside) as Horse; Joe Gill (Emmerdale) as Lomper; Kai Owen (Torchwood,Hollyoaks) as Dave; and James Redmond (Hollyoaks, Casualty) as Guy.

Joining them will be Liz Carney as Jean, Amy Thompson as Mandy, Bryonie Pritchard as Linda and Keeley Fitzgerald as Sharon. Through these women we see the other side of the story, the challenging journeys they face to stand by their men and how they ultimately take their hats off to them all.

The Full Monty is at Leeds Grand Theatre from Monday 25 to Saturday 30 March 2019

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