The best of The Fringe – 3 plays in a week as part of the new Guildford Fringe Weeks.
The Guildford Fringe Weeks launched in February this year and have been a huge success in terms of making theatre more accessible and affordable in the town.
From 8-13 April at The Back Room of The Star Inn you can see three different plays. The themes of these plays include Alzheimer’s, Anorexia and a hilarious take on Shakespeare’s Richard III.
Opening the week is Pip Utton, an Edinburgh Fringe veteran who has performed there for 25 years! This moving and affectionate performance is about the devastating effects of Alzheimer’s disease, not only on the sufferer, but on their family, friends and carers as well.
And Before I forget I love you, I love you is based on Pip and his brother’s experience of seeing their mum deteriorate and die with Alzheimer’s disease and on intensive research and interviews. Pip’s character in the play takes the audience on a journey full of smiles, laughter, respect and tears. Tissues are certainly recommended!
Back by popular demand, The Culture Conspiracy return after their sell-out performance at Guildford Fringe Festival 2018.
When William Shakespeare wrote Richard III he told an epic, dark and nuanced tale. He gave us an enduring and insightful study of deceit, betrayal and the struggle for power. It’s also about four hours long and mightily confusing! That’s why Ian Renshaw and Helen Manners decided to have a bash at tidying up the story and presenting the more… fun side with their Travesty of Richard III.
Fans of the original play will recognise all their favourite goodies and baddies: scheming Richard, bewildered Lady Anne Neville, cursing booze-fiend Queen Margaret D’Anjou, and many more – all played by a cast of two. What could possibly go wrong?!
Newcomers to the piece can expect modern language blended seamlessly with the original Shakespearean text and a couple of songs. Prepare for a great deal of lamenting, dissembling, beholding and cloying (whatever that is). It’s just over an hour long and, frankly, is only slightly less confusing than the original!
Finishing off the trilogy of original theatre is Eat Me by Surrey-born writer Suzanna Walters which deals with the eating disorder Anorexia which played a 4-week season at the acclaimed Edinburgh Fringe Festival last year.
Eat Me is directed by Birmingham-born actress, writer and director Sally McCormack. It is a thought provoking, often chilling and dramatic exploration of the sensitive subject of eating disorders based on real-life experiences.
Each play is being performed at The Back Room of The Star Inn, Guildford GU1 3TY. And Before I forget I love you, I love you by Pip Utton plays on Monday 8 April, The Travesty of Richard III has two performance on 9 and 10 March and Eat Me runs from 11-13 April.
Tickets range from £10-£12 and can be purchased from GuildfordFringe.com or by calling 01483 361101
Listings
And Before I forget I love you, I love you
Monday 8 April @ 7:30pm
The Back Room of The Star Inn, Quarry Street, Guildford
Tickets £12 + booking fees
Running time is approx. 1 hour
Travesty of Richard III
Tuesday 9 and Wednesday 10 April @ 7:30pm
The Back Room of The Star Inn, Quarry Street, Guildford
Tickets £10 + booking fees
Running time is approx. 1 hour 15 Minutes
Eat Me
Thursday 11 – Saturday 13 April @ 7:30pm
The Back Room of The Star Inn, Quarry Street, Guildford
Tickets £12 + booking fees
Running time is approx. 1 hour
No refunds or exchanges will be given.
No disabled access to the venue.
You can find the full line-up of Guildford Fringe Theatre Company events here.
Welcome to Club Tropicana, where there’s enough for everyone and the drinks are free!*
This brand new 80s themed musical is jam-packed with some of the 80’s biggest hits – from Cyndi Laupers’ Girl’s Just Wanna Have Fun, The Look of Love (ABC), Depeche Modes’ Just Cant Get Enough, Frankie Goes to Hollywood’s Relax and many more! The ultimate feel good night out that will have you reaching for your hairbrush, your pointed Madonna bra and that neon lycra hidden away in your attic!
Lorraine’s (Karina Hind) wedding day has finally arrived – but far from being a Fantastic Day, she’s sat at home in tears, comforted by her best friends Tracey (Hairsprays Rebecca Mendoza) and Andrea (Tara Verloop) having got last minute cold feet about the whole thing. However the groom – Olly (Cellen Chugg Jones) is already at the Church by the time Lorraine calls his mobile phone and calls the whole thing off. (Don’t Leave Me This Way).
Mortified, Olly’s friends decide to cheer him up and head off on holiday to help him forget the whole embarrassing day. Lorraine’s friends also decide that maybe heading off to warmer climes will give the would-be-Bride space to clear her head. Without realising the pair have gone and checked into the same hotel……will the vacation be just what the Doctor ordered and save their upcoming wedding or will they decide to call it a day?
With a pending hotel inspection, Club Tropicana resort Entertainments Manager – the outwardly camp and hilarious Garry (2009 X-Factor winner Joe McElderry) – along with receptionists Robert (Neil McDermott) and Serena (ex Sugababe singer Amelle Berrabah in her musical debut) along with the eccentric hotel cleaner Consuela (or Connie as she is often fondly referred to as) are working their socks off (or should that be leg warmers?), to ensure that they are ready for the arrival of the mysterious inspector. However it seems that someone has been tampering with bookings….or someone has just made some really bad booking errors – meaning the hotel is lacking in bookings by the time the Inspector is due. Robert however gets a brainwave and decides to advertise a fancy dress themed few days (or “Fansee Dress Night” as Spanish Consuela wrongly advertises it as!). Connie then has several dress changes to make it appear that there are more guests checked into the hotel – from Toyah Wilcox to Adam Ant – each costume change comes with some very uncanny impressions. Connie may be foul mouthed and have her own “sign” – but she brings in plenty of laughs making it impossible not to love her. When a high maintenance guest checks in under the name of Christine (Emily Tierney) – staff assume that she is the Hotel Inspector – with her demanding ways and her never ending questions about the facilities etc the staff bite their lip and aim to please her every demand. When Robert first meets her he is smitten, and despite secretly being in love with Robert, co-worker Serena tells him to do whatever it takes to make sure the hotel inspection goes smoothly. Christine may be irritating, but as Robert tells her, she’s got “a WICKED sense of humour!” (a joke sadly lost on tonights audience however – for those not lucky enough to have caught Emily in Wicked a few years ago, you missed a treat!)
It’s impossible to single out a particular cast member; McElderry was instantly a hit – getting the audience on their feet with some audience participation right from the start, Tierney, who’s character has one accidentally after the other brings the laughs in along with Kate Robbins as the lovable Connie.
Will the Hotel Inspectors finally get their way and close the resort down once and for all? Can the Club Tropicana staff save the day? Will Lorraine and Olly give love another go?
With twenty of the greatest 80s hits, more lycra than a roller-disco (remember those?), Club Tropicana is the ultimate feel good reminder of what in my opinion was the greatest decade for pop music (I am being slightly bias here as this is my era!). Sure the story line isn’t anything special – and felt far too similar to the recent Benidorm Live tour – as Producer Mark Goucher states “we are not trying to win prizes but to give you a good night out.” Well Mark I can certainly say I didn’t leave disappointed other than feeling it was all over quicker than The Reynolds Girls music career.
Festival’s Theatre, Edinburgh – until 9th of March 2019.
Reviewed by Hannah Plumb
3***
Dirty Dancing: The Classic Story on Stage comes to the Festival Theatre, Edinburgh to share come of its classic movie magic. It’s the summer of 1963 and Frances “Baby” Houseman travels to Kellerman’s in the Catskill’s with parents and older sister for some summer fun. However when she encounters dance teacher Johnny Castle she is pulled in to a fiery summer romance that will challenge each of their beliefs. Can these two fiercely independent young lovers from different backgrounds be able to survive the most exciting and unexpected summer of their lives?
The cast of Dirty Dancing is lead by Kira Marlou as Baby and Michael O’ Reilly as Johnny Castle. Their on-stage chemistry is very believable as they play our this tumultuous young love affair, O’Reilly’s portrayal of the bad boy dance instructor is well contrasted by Marlou’s as the bright-eyed ingenue. They play off each other well. The highlight of the piece is Simone Covele as Penny Johnson. Covele’s dance ability is excellent and her movement sequences with O’Reilly really are the standout moments in the piece.
The band play well as they provide a soundtrack to this crazy summer of love with 80’s hits which will make you want to sing along. The bulk of the vocals are performed by Sian Gentle-Green as Elizabeth and Alex Wheeler as Billy Kostecki which does take you out of the story a bit as you try to pay attention to their developing relationship as well. However, they perform well and their vocals are strong.
Dirty Dancing is a classic. That being said the plot is dated and “of its time” making it hard to connect with for a first time viewer. However, if you are a big fan of the original movie go and see the stage show as it stays very true to the film and who can resist witnessing that legendary lift live.
James Baker, Tom Chester and Bill Elms for Northern Ricochet present
APPEAL FOR MANCHESTER SINGERS TO JOIN ‘JERRY CHOIR’
Call out for singers to become part of iconic show
Singers in Manchester have a rare and exciting opportunity to become part of the brand-new production of JERRY SPRINGER – THE OPERA, which comes to Manchester in August 2019.
Individuals are being invited to audition for the Jerry Choir. The choir play an instrumental role in the show and will perform alongside the cast of 14 professional actors.
JERRY SPRINGER – THE OPERA will run at Hope Mill Theatre in Ancoats for four weeks from Thursday 8 August through to Saturday 31 August 2019. It is almost 15 years since the show was last performed in the UK. Tickets are on sale now.
The controversial musical is being brought to the stage by new production company Northern Ricochet, recentlyformed by James Baker (Parade, Yank), Tom Chester (Parade, Mamma Mia),andBill Elms (Epstein The Man Who Made The Beatles, Twopence To Cross The Mersey).
Northern Ricochet are passionate about producing quality theatre in the North, for the North and using Northern creatives, actors and voices – and are encouraging and urging local talent to audition for up to 18 places in the Jerry Choir.
JERRY SPRINGER – THE OPERA caused a storm when it came to the UK stage in 2002, and in this new revival it promises the same raucous energy with a revamped and fresh production for 2019!
Casting day for the Jerry Choir is Sunday 24 March 2019 in Manchester city centre. Singers auditioning are urged to ensure they are available on the day. Places in the Jerry Choir are voluntary.
For the audition, singers will be required to prepare two songs of contrasting style, ideally one that suits the style and tone of the show and allows for them to show their ability to act through song – no longer than one minute per song. Singers will be required to take accompanying sheet music.
Successful applicants will be invited to a group workshop at a later date. They will need to commit to rehearsals every Sunday from 12 May to early August; technical rehearsals; and three to four shows per week during the show’s four-week run.
Singers wishing to audition are asked to pre-register by emailing [email protected]
The first joint venture from Northern Ricochet will see James Baker as director; Tom Chester as musical director; and Bill Elms as co-producer of JERRY SPRINGER – THE OPERA.
Director James Baker commented: “It’s extremely exciting to be looking for Northern talent who will form our Jerry Choir. Whether you have a lust for the stage and never had your chance; a resting pro-performer; a keen player in the amateur circuit; or a graduate needing some exposure; then we want to hear from you.
“Theatre is about the people you make it for – our audiences. It’s so important that we reach out to individuals who want to engage with theatre in a professional context. Jerry Springer is a boldly drawn reflection of our society. It’s a brave show that asks important questions about people and places. It’s so important that we give our theatrical landscape, our city of Manchester, and the people who live in here an opportunity to work with theatre and art on a first-hand basis. This is a fantastic opportunity. All ages, race, gender and sexuality are welcome to join us on this incredible journey.”
JERRY SPRINGER – THE OPERA was written by Richard Thomas, who also wrote the music and lyrics, with the book and additional lyrics by Stewart Lee and Richard Thomas. It is based on The Jerry Springer Show, which was first broadcast on television in 1991 and was on the air for 27 years. It tells the story of America’s favourite talk show host who suffers the worst day in his career when faced with some of the most challenging guests he’s ever met on set.
Full cast to be announced soon for JERRY SPRINGER – THE OPERA.
Website: hopemilltheatre.co.uk
Facebook: /Jerry Springer Manchester
Twitter: @JSTOMANC #JERRYJERRY
LISTING INFORMATION
JERRY SPRINGER – THE OPERA
Dates: Thursday 8 August – Saturday 31 August 2019
Times: Tue – Sateves 7.30pm| Sat mat 2pm | Sunday 1pm & 5pm |Thu 29 Aug 2pm
Hope Mill Theatre
113 Pollard Street,
Manchester,
M4 7JA
HOW TO BOOK
Tickets: Preview tickets all £20.00 | General tickets £22.50 & £25.00 (concessions available) | Premium VIP On Stage seating £23.00, £25.50 & £28.00 (limited 8 seats per show)
Today (Tuesday 5 March), actors Sheila Atim and Giles Terera announced the nominations for the Olivier Awards 2019 with Mastercard, which takes place on Sunday 7 April at the Royal Albert Hall, hosted by Jason Manford.
Marianne Elliott’s new gender-switched production of the Stephen Sondheim musical Company, running at the Gielgud Theatre, has nine nominations: Best Musical Revival, Best Director, Best Set Design, Best Lighting Design, Best Theatre Choreographer, and nominations for performers Rosalie Craig, Patti LuPone, Jonathan Bailey and Richard Fleeshman.
New Canadian musical Come From Away, currently playing at the Phoenix Theatre having opened on Broadway in 2017, also received nine nominations: Best New Musical, Best Director, Outstanding Achievement in Music, Best Theatre Choreographer, Best Lighting Design, Best Sound Design, and nominations in the Supporting categories for ensemble cast members Rachel Tucker, Clive Carter and Robert Hands.
The Inheritance, Matthew Lopez’s new two-part play which transferred to the West End following a sold-out run at the Young Vic, has eight nominations – including Best New Play, Best Director, Best Actor for Kyle Soller and Best Supporting Actress for Vanessa Redgrave – the most for a play this year.
The Lincoln Center Theater production of the classic Rodgers and Hammerstein musical The King and I, which ran at the London Palladium, received six nominations, including for lead performers Kelli O’Hara and Ken Watanabe.
The National Theatre production of The Lehman Trilogy, soon to transfer to the Piccadilly Theatre, received five nominations – as did the Almeida Theatre production of Tennessee Williams’ Summer And Smoke, which transferred to the Duke of York’s Theatre, and Six, the musical about Henry VIII’s wives which began life at the Edinburgh Fringe and is now running at the Arts Theatre.
In the Best Actor category, Ian McKellen receives his 11th Olivier nomination (including five wins) for King Lear, alongside Arinzé Kene for Misty, Kyle Soller for The Inheritance, and David Suchet for The Price (his ninth nomination). Adam Godley, Ben Miles and Simon Russell Beale are nominated collectively for The Lehman Trilogy.
In the Best Actress category, Gillian Anderson is nominated for All About Eve, Eileen Atkins (who has been nominated seven times previously including three wins) for The Height Of The Storm, Patsy Ferran for Summer And Smoke, Sophie Okonedo for Antony And Cleopatra, and Katherine Parkinson for Home, I’m Darling.
Julian Bird, Chief Executive of Society of London Theatre and Executive Producer of the Olivier Awards, said:
‘This year’s nominations really highlight the sheer breadth and diversity of the modern British theatre landscape, with an exciting mix of well-established and new voices. We look forward to celebrating all this incredible creative talent on Sunday 7 April.’
The Olivier Awards ceremony will be broadcast via official media partners ITV, Magic Radio and Facebook. Full details to be announced soon.
The Nominees’ Celebration will take place on Friday 8 March at The May Fair Hotel (part of Edwardian Hotels London, official hotel partner for the Olivier Awards), in association with Olivier Awards partner Cunard.
Mastercard continues its partnership with Society of London Theatre and its headline sponsorship of the Olivier Awards, bringing cardholders with a passion for theatre closer to the genre they love. Tickets to theatre’s biggest night are available exclusively for Mastercard cardholders and are available via priceless.com.
FULL LIST OF NOMINATIONS FOR OLIVIER AWARDS 2019 WITH MASTERCARD
BEST ACTOR IN A SUPPORTING ROLE IN A MUSICAL
Jonathan Bailey for Company at Gielgud Theatre
Clive Carter for Come From Away at Phoenix Theatre
Richard Fleeshman for Company at Gielgud Theatre
Robert Hands for Come From Away at Phoenix Theatre
BEST ACTRESS IN A SUPPORTING ROLE IN A MUSICAL
Patti LuPone for Company at Gielgud Theatre
Ruthie Ann Miles for The King And I at The London Palladium
“The Queens” – Aimie Atkinson, Alexia McIntosh, Millie O’Connell, Natalie Paris, Maiya Quansah-Breed and Jarneia Richard-Noel – for Six at Arts Theatre
Rachel Tucker for Come From Away at Phoenix Theatre
OUTSTANDING ACHIEVEMENT IN MUSIC
Come From Away – Book, Music and Lyrics: David Hein and Irene Sankoff; Music Supervisor, Arrangements: Ian Eisendrath; Orchestrations: August Eriksmoen; Musical Director/UK Music Supervisor: Alan Berry; and the band of Come From Away at Phoenix Theatre
Fun Home – Composer: Jeanine Tesori; Lyricist/Bookwriter: Lisa Kron at Young Vic
The Inheritance – Composer: Paul Englishby at Young Vic and Noël Coward Theatre
A Monster Calls – Original music composed by Benji Bower and performed live by Benji with Will Bower (The Bower Brothers) at The Old Vic
Six – Original score, orchestrations and vocal arrangements: Toby Marlow, Lucy Moss, Tom Curran and Joe Beighton at Arts Theatre
BEST NEW DANCE PRODUCTION
16 + A Room/Solo Echo/Bill by Ballet British Columbia at Sadler’s Wells
Blkdog by Botis Seva at Sadler’s Wells
Playlist (Track 1, 2) by William Forsythe for English National Ballet at Sadler’s Wells
The Unknown Soldier by Alastair Marriott for The Royal Ballet at Royal Opera House
OUTSTANDING ACHIEVEMENT IN DANCE
Akram Khan for his performance in Xenos at Sadler’s Wells
John Macfarlane for his design of Swan Lake at Royal Opera House
Dimitris Papaioannou for his choreography of The Great Tamer at Sadler’s Wells
BEST ENTERTAINMENT AND FAMILY
A Monster Calls at The Old Vic
Snow White at The London Palladium
Songs For Nobodies at Ambassadors Theatre
The Wider Earth at Jerwood Gallery, Natural History Museum
BEST THEATRE CHOREOGRAPHER
Kelly Devine for Come From Away at Phoenix Theatre
Christopher Gattelli based on original choreography by Jerome Robbins for The King And I at The London Palladium
Carrie-Anne Ingrouille for Six at Arts Theatre
Liam Steel for Company at Gielgud Theatre
MAGIC RADIO BEST MUSICAL REVIVAL
Caroline, Or Change at Playhouse Theatre
Company at Gielgud Theatre
The King And I at The London Palladium
BEST ACTOR IN A MUSICAL
Marc Antolin for Little Shop Of Horrors at Regent’s Park Open Air Theatre
Kobna Holdbrook-Smith for Tina – The Tina Turner Musical at Aldwych Theatre
Zubin Varla for Fun Home at Young Vic
Ken Watanabe for The King And I at The London Palladium
BEST ACTRESS IN A MUSICAL
Sharon D. Clarke for Caroline, Or Change at Playhouse Theatre
Rosalie Craig for Company at Gielgud Theatre
Kelli O’Hara for The King And I at The London Palladium
Adrienne Warren for Tina – The Tina Turner Musical at Aldwych Theatre
CUNARD BEST REVIVAL
King Lear at Duke of York’s Theatre
The Lieutenant Of Inishmore at Noël Coward Theatre
The Price at Wyndham’s Theatre
Summer And Smoke at Almeida Theatre and Duke of York’s Theatre
BEST NEW COMEDY
Home, I’m Darling at National Theatre – Dorfman and Duke of York’s Theatre
Nine Night at National Theatre – Dorfman and Trafalgar Studios 1
Quiz at Noël Coward Theatre
OUTSTANDING ACHIEVEMENT IN AFFILIATE THEATRE
Moe Bar-El for his performance in Every Day I Make Greatness Happen at Hampstead Theatre Downstairs
Flesh And Bone at Soho Theatre
Jonathan Hyde for his performance in Gently Down The Stream at Park Theatre
The Phlebotomist at Hampstead Theatre Downstairs
Athena Stevens for Schism at Park Theatre
WHITE LIGHT AWARD FOR BEST LIGHTING DESIGN
Neil Austin for Company at Gielgud Theatre
Howell Binkley for Come From Away at Phoenix Theatre
Jon Clark for The Inheritance at Young Vic and Noël Coward Theatre
Lee Curran for Summer And Smoke at Almeida Theatre and Duke of York’s Theatre
ROYAL ALBERT HALL AWARD FOR BEST SOUND DESIGN
Paul Arditti and Christopher Reid for The Inheritance at Young Vic and Noël Coward Theatre
Mike Beer for A Monster Calls at The Old Vic
Carolyn Downing for Summer And Smoke at Almeida Theatre and Duke of York’s Theatre
Gareth Owen for Come From Away at Phoenix Theatre
Nick Powell for The Lehman Trilogy at National Theatre – Lyttelton
BEST COSTUME DESIGN
Fly Davis for Caroline, Or Change at Playhouse Theatre
Anna Fleischle for Home, I’m Darling at National Theatre – Dorfman and Duke of York’s Theatre
Gabriella Slade for Six at Arts Theatre
Catherine Zuber for The King And I at The London Palladium
BLUE-I THEATRE TECHNOLOGY AWARD FOR BEST SET DESIGN
Bunny Christie for Company at Gielgud Theatre
Bob Crowley for The Inheritance at Young Vic and Noël Coward Theatre
Es Devlin for The Lehman Trilogy at National Theatre – Lyttelton
Anna Fleischle for Home, I’m Darling at National Theatre – Dorfman and Duke of York’s Theatre
BEST ACTOR IN A SUPPORTING ROLE
Keir Charles for Quiz at Noël Coward Theatre
Adam Gillen for Killer Joe at Trafalgar Studios 1
Adrian Lukis for The Price at Wyndham’s Theatre
Malcolm Sinclair for Pressure at Ambassadors Theatre
Chris Walley for The Lieutenant Of Inishmore at Noël Coward Theatre
BEST ACTRESS IN A SUPPORTING ROLE
Susan Brown for Home, I’m Darling at National Theatre – Dorfman and Duke of York’s Theatre
Monica Dolan for All About Eve at Noël Coward Theatre
Cecilia Noble for Nine Night at National Theatre – Dorfman and Trafalgar Studios 1
Vanessa Redgrave for The Inheritance at Young Vic and Noël Coward Theatre
BEST NEW OPERA PRODUCTION
Katya Kabanova at Royal Opera House
Lessons In Love And Violence at Royal Opera House
The Turn Of The Screw at Regent’s Park Open Air Theatre
OUTSTANDING ACHIEVEMENT IN OPERA
David Butt Philip and Roderick Williams for their performances in War Requiem at London Coliseum
The English National Opera chorus for Paul Bunyan at Wilton’s Music Hall
Andris Nelsons for his conducting of Lohengrin at Royal Opera House
The ensemble of Porgy And Bess at London Coliseum
BEST ACTOR
Adam Godley, Ben Miles and Simon Russell Beale for The Lehman Trilogy at National Theatre – Lyttelton
Arinzé Kene for Misty at Trafalgar Studios 1
Ian McKellen for King Lear at Duke of York’s Theatre
Kyle Soller for The Inheritance at Young Vic and Noël Coward Theatre
David Suchet for The Price at Wyndham’s Theatre
BEST ACTRESS
Gillian Anderson for All About Eve at Noël Coward Theatre
Eileen Atkins for The Height Of The Storm at Wyndham’s Theatre
Patsy Ferran for Summer And Smoke at Almeida Theatre and Duke of York’s Theatre
Sophie Okonedo for Antony And Cleopatra at National Theatre – Olivier
Katherine Parkinson for Home, I’m Darling at National Theatre – Dorfman and Duke of York’s Theatre
SIR PETER HALL AWARD FOR BEST DIRECTOR
Christopher Ashley for Come From Away at Phoenix Theatre
Stephen Daldry for The Inheritance at Young Vic and Noël Coward Theatre
Marianne Elliott for Company at Gielgud Theatre
Rebecca Frecknall for Summer And Smoke at Almeida Theatre and Duke of York’s Theatre
Sam Mendes for The Lehman Trilogy at National Theatre – Lyttelton
AMERICAN AIRLINES BEST NEW PLAY
The Inheritance at Young Vic and Noël Coward Theatre
The Lehman Trilogy at National Theatre – Lyttelton
Lesley Joseph will join the new cast for the UK & Ireland Tour of Gary Barlow and Tim Firth’s musical comedy, CALENDAR GIRLS The Musical, based on the true story, the film and the award-winning play.
Lesley will play Jessie from 23 April in Southend, until 10 August in Eastbourne when Ruth Madoc returns to the role.
Although perhaps best known for playing Dorien Green in the ITV sitcom Birds of a Feather, alongside Pauline Quirke and Linda Robson, Lesley has a wealth of theatrical experience to her credit. Most recently she starred as Frau Blücher in Mel Brooks’ Young Frankenstein at the Garrick Theatre, a role which earned her an Olivier Award nomination for Best Supporting Actress in a Musical.
Lesley’s other notable theatre credits include Miss Hannigan in Annie (West End and UK Tour), Chris in the play of Calendar Girls (UK Tour), The Vagina Monologues (West End and UK Tour), and Kathleen in Sir Peter Hall’s production of Home (Theatre Royal Bath).
On television, Lesley played Rachel Culgrin in ITV’s Night and Day for nearly two years. Other TV appearances include Rumble with Brian Glover, Easy Money, Spywatch, Minder, Roots, and The Knowledge to name a few. She played Green Beryl in Channel 5’s series The Secret of Eel Island, and guest starred as Erica in BBC’s The Slammer.
Lesley has also appeared in scores of light entertainment shows. She had a regular spot as glamour correspondent on GMTV, and presented ITV’s Wish You Were Here…?. In 2016, Lesley was partnered with Anton du Beke on BBC’s Strictly Come Dancing.
Lesley joins the previously announced cast starring Sarah Jane Buckley (Blood Brothers and Kathy Barnes inHollyoaks) as Annie, Sue Devaney (the soon to be seen new Russell T. Davies series Years and Years, Jane inDinnerladies, Liz Harker in Casualty, Debbie Webster in Coronation Street and Rosie in the musical Mamma Mia!) as Cora, Julia Hills (Doctor Kemp in Broadchurch, Annabelle Shrivener in The Archers) as Ruth, Judy Holt (Cold Feet, Scott & Bailey) as Marie and Lisa Maxwell (panellist on Loose Women, Tracey Donovan in Hollyoaks,Samantha Nixon in The Bill and various roles in The Les Dennis Laughter Show and The Russ Abbot Show) as Celia. The new cast will make their debut at Cliffs Pavilion, Southend, on 23 April 2019.
Rebecca Storm will continue to play Chris.
Karen Dunbar will return to play Cora when the production visits Glasgow’s King’s Theatre from 11-22 June.
Also in the cast are Phil Corbitt as John, Ian Mercer as Rod, Sebastian Abineri as Colin, Alan Stocks as Denis, Derek Elroy as Lawrence, Pauline Daniels as Lady Cravenshire, Ellie Leah as Miss Wilson, Danny Howker as Danny, Isabel Caswell as Jenny and Tyler Dobbs as Tommo.
The critically acclaimed and award-winning production played a six-month London season at the Phoenix Theatre in 2017, and, before that, this musical comedy played sold-out seasons in Leeds and Manchester.
Gary Barlow and Tim Firth grew up in the same village in the North of England and have been friends for 25 years. With Take That, Gary has written and co-written 14 number one singles, has sold over 50 million records worldwide and is a six times Ivor Novello Award winner. Tim has won the Olivier Award and UK Theatre Award for Best New Musical, and the British Comedy Awards Best Comedy Film for Calendar Girls.
CALENDAR GIRLS THE MUSICAL is inspired by the true story of a group of ladies, who decide to appear nude for a Women’s Institute calendar in order to raise funds to buy a settee for their local hospital, in memory of one of their husbands, and have to date raised almost £5million for Bloodwise. This musical comedy shows life in their Yorkshire village, how it happened, the effect on husbands, sons and daughters, and how a group of ordinary ladies achieved something extraordinary.
Bloodwise, the UK’s specialist blood cancer charity, will continue to receive monies from this production.
CALENDAR GIRLS The Musical is directed by Matt Ryan and designed by Robert Jones, with comedy staging by Jos Houben, movement by Lucy Hind and casting by Sarah Bird.
Peterborough’s former Broadway Theatre is set to re-launch under the new management ofSelladoor Worldwide (one of the UK’s leading touring theatre producers and no. 38 in The Stage 100’s 2019 list of most influential people working in the performing arts industry).
The theatre will re-open its doors from September 2019 as the Peterborough New Theatre, and joinsThe Landmark Theatre, Ilfracombe, and Queen’s Theatre, Barnstaple, under the operation ofSelladoor Venues, alongside the Pavilion Theatre, Blackpool, in partnership with the Blackpool Entertainment Company.
The New Theatre’s inaugural season will include two of Selladoor’s hit touring productions, Avenue Qand Madagascar The Musical, alongside Adam Spiegel Productions’ The Mousetrap, and Prime Pantomimes’ The Wizard of Oz, with further productions to be announced in due course.
Peterborough philanthropist Peter Boizot spent £9m of his own money to recreate the beautiful 1930’s Art Deco building as a cornerstone of Peterborough cultural life. Following several attempts to breathe new life into the building in recent years, The Dawe CharitableTrust took over the lease of the building and has invested a further £1m to make The New Theatre central to the life of all Peterborough’s communities.
Selladoor Worldwide’s production of Avenue Q was previously programmed to run at the venue in March 2019 before the theatre was sadly forced to close. Selladoor is now delighted to be able to finally bring the show to the theatre, and will contact customers who had previously booked tickets for Avenue Q but were not given the opportunity to enjoy the show and did not receive a refund. Selladoor will offer to honour these tickets for the week of the show’s run from 24 – 28 September.
David Hutchinson, CEO, Selladoor Worldwide said, “We’ve been working closely with the trust since the collapse of the previous administration, to find a viable future for this beautiful venue. It’s clear that Peterborough deserves a number one venue for larger scale work. There is fantastic local support for this building and I am truly delighted to add the newly renamed Peterborough New Theatre to the Selladoor Venue portfolio. Our mission remains, to produce and present quality diverse, daring and dynamic work. And our new Peterborough home will present so many opportunities to bring thrilling theatre and live events to the city. We clearly have some work to build trust, following the unfortunate collapse of previous managers. We don’t underestimate that task. But we’re leading with a number of our own largest productions – one of which, Avenue Q, was a victim of the recent collapse. We have confidence that the Peterborough New Theatre can be a building of local and national importance.”
Dr Peter Dawe, OBE, The Dawe Charitable Trust, said, “Having Selladoor Worldwide, a professional theatre management company, take over the running of the Peterborough theatre is what my team has been working for since we took over. My team especially Vijju Churchman and Tarba Gill have worked tirelessly to make the theatre an attractive commercial proposition. The reward is that Peterborough, for the first time in decades, will enjoy top acts, performances and theatre on a regular basis. The Dawe Charitable Trust will continue to support the theatre in the years to come.”
Tom Stickland, Theatres Trust said, “The [Peterborough New Theatre] is a venue with extraordinary potential. It has been on our Theatres at Risk register since 2016 when it was threatened with redevelopment into flats. Having campaigned to save the theatre building, Theatres Trust is delighted that it has now found an operator in Selladoor that can bring experience of theatre nationwide, to make sure that the people of Peterborough can enjoy quality large scale theatre and ensure the building continues to be protected.”
As well as the main auditorium, Selladoor Worldwide will be rejuvenating the exceptional front of house spaces and bringing them back to life. They will be introducing delicious food offers, with friendly bar service and a welcoming place to relax before the show, making the New Theatre a one-stop-venue for a great night out. The wonderful Broadway Suite will be reborn with speciality dining events, live music nights and fabulous opportunities for private hire.
Keen to be an important centre for the city, and integrate with the community, the theatre will be welcoming local volunteers to be a part of the New Theatre family. There will be opportunities to assist with customer visits, special events and marketing, all enhancing the customer experience and giving the chance for those with a passion for the arts to get involved.
Stephen Joseph Theatre, Scarborough – until 6 March 2019
Reviewed by Sara Garner
4****
We are introduced to Jim “Glorious” Glory’s gym with the entrance of Ben (Josh Hart) who colorfully remarks on the state of the gym. This reflects the Glory days that are no more and so we are presented with three of the main characters of the play Ben, Dan (Joshua Lyster) and Jim (Jamie Smelt)
It is very clear from the outset that this play is going to challenge the audience with its black humor, racial stereotypes and Jim’s frustration for this. Its uncomfortably funny. The play then explores theses attitudes allowing the characters to openly develop in from of us by sharing their own traumatic experiences that have had a dramatic effect on their emotional wellbeing.
Jim Glory, makes it a rule for his apprentices to keep real life out of the ring. Played by Jamie Smelt this character imagines people find him very funny and enjoy his company, while still respecting him and looking up to him as a wrestler. He is oblivious to how other people see him, causing him to lash out whenever the veil of ignorance and pride he maintains is infiltrated. He believes in goodie-versus-baddie stories and doesn’t want the problems of people’s actual experience. For him, wrestling is about comedy, the act and entertainment.
At the end of Act 1 we met Sami (Ali Azhar) who has gone through his own physical and psychological traumas.
The relationship between the 4 characters is affected by their individual traumas and evolves throughout act 2. This ability to demonstrate the fluidity in their relationships shows that these actors truly understand not only the script but also the nuances of each of their characters and the effect of the judgmental society in which the live. What will they do to achieve their own Glory?
The audience leaves reflecting on their own experiences, prejudices and multi-cultural society in which we live in. This clearly shows how good this play really is.
Staged in a wrestling ring with some great choreographed stage fighting it is funny, energetic and gritty – it is also truly thought provoking.
New Victoria Theatre, Woking – until 9th March 2019
Reviewed by Alex Sykes
5*****
There are few occasions in life where you can go to the theatre in fancy dress and heckle the cast but when seeing Rocky Horror Show it seems almost compulsory. It might have been cold and wet outside but in the theatre it was warm and the people in costume outnumbered the people not in costume.
The opening number, Science Fiction/Double Feature is sung by Laura Harrison, in her role as the Usherette, who deserves a special mention as she carried on singing despite the stage having a technical problem as the curtain didn’t want to open. Harrison also deserves a mention for how quickly she managed to get changed at the end of the show from the Usherette outfit back into the Magenta outfit. Dom Joly is brilliant in his role as the narrator as he receives the most heckles from from the audience but responds to them brilliantly, whether or not these replies are scripted remains unknown but the timings and the responses are spot on, Joly is possibly the best narrator I have seen.
Sweet and innocent Brad and Janet are played by Ben Adams (A1) and Joanne Clifton (Strictly Come Dancing) who have amazing on stage chemistry. The pair also take the heckles well, although at times you could tell Adams was trying not to laugh, especially during the scene with the cocktail shaker. Ross Chisari brings both Eddie and Dr. Scott to life but is better in the role as Eddie his Dr. Scott has a strange accent that isn’t the same from one line to the next. Callum Evans is wonderful in his role of Rocky, using his gymnastic abilities to his advantage (has anyone ever tried to escape from Frank by doing a backflip? Probably not). Miracle Chance tap dances her way into the role of Columbia, although the role should be bigger as her talents are not used as well as they should be. Stars of the show though are Stephen Webb and Kristian Lavercombe who play Frank N. Furter and Riff Raff respectively. The pair have a brilliant connection and use each other to work out how to play the scene, and Lavercombe has racked up over 1400 performances as Riff Raff.
All in all a brilliant night out which would make Richard O’Brien proud and will make fans of the Rocky Horror Show keep coming back to do the Time Warp again and again.
My favourite Samuel Beckett is the one from Quantum Leap, so it was probably time for me to see a Beckett play live on stage. Angel Theatre’s production of Footfalls and Play, two of Beckett’s later short plays, has a combined running time of an hour, with both toying with the tedious repetitive patterns people get trapped in. I think.
Play has three characters sitting in three large urns arranged in a row. The actors’ faces are grey and flaky, suggesting decay or fossilisation. Beckett’s precise stage directions have the urns lit by three lights, with the actors speaking when then are illuminated. They begin together, a babble of voices which then splits into each actor speaking when they are individually lit. As they speak it becomes clear who they are. The man is flanked by his wife and his mistress, and they all speak of the rather ordinary, cliched extra-marital affair. The wife (Rose Trustman) is strong but bitter, the mistress (Samantha Kamras) wonders if she is becoming unhinged, and the man (Ricky Zalman) seems only interested in himself. The rhythm of the lighting becomes hypnotic, broken by the occasional erratic pauses in a character’s lines. After a short period of darkness, the play is repeated. This is probably all about being trapped in a cycle of repeated behaviours and inability to let go of the past, but I am afraid this is where I drifted off a little and began analysing the similarities of the play’s staging to a futuristic game of Whack a Mole, with shades of Return to Oz.
The second play, Footfalls, has a woman dressed in ghostly tattered rags, walking repeatedly back and forth along a short strip, shuffling along for 9 steps before turning painfully to repeat her routine. A bell marks the beginning of each stage of the play, with the woman, May (Anna Bonnett) calling to her mother (Pearl Marsland), who may or may not be dead. May could be dead, too. Is she a ghost or is she haunted by her traumas? I haven’t a clue. The shuffling walk is the focus of the piece, and there is repetition of lines and themes, with May pacing outside her mother’s door telling of a ghost who paces the floor of the church. Again, the idea of being trapped and worn down by a disappointing life until we fade away loomed large, but the whole effect was slightly soporific. However, the audience around me appeared rapt.
The lighting and timing of the cast are excellent, and they all deliver solid performances in the skilled hands of director John Patterson, but these plays feel like something to be impressed by rather than to be enjoyed. I think I will stick with the time-travelling Sam Beckett until Godot finally turns up. Even though the plays didn’t appeal to me, I am sure that lovers of Beckett will be thrilled at the chance to see this fine production.
