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Mayflower Theatre Southampton – until 23 February 2019

Reviewed by Jo Gordon 

5*****

Despite Matthew Bournes Swan Lake doing the rounds for a little over 2 decades now, I’d never seen it before this evening and how I regret that! When it first hit the stage back in 1995 it caused quite the controversy amongst the classical Swan Lake lovers due to the use of an all male Swan ensemble, same sex love and a cheeky comedic streak but others fell in love with it for those very reasons. 

A very modern version of the handsome Prince (Dominic North)  falling in love with a Swan (Max Westwell), set to the classical music of Tchaikovsky we follow the story of a modern day prince repressed by his unmaternal Mother – the Queen (Katrina Lyndon) and the slightly dodgy aide (Glenn Graham) always at her side. Becoming increasingly unhappy with life and his very unsuitable (yet hilariously funny) girlfriend (Carrie Wilis) the Prince considers taking his own life but is saved by an encounter with the Swan he sees in his dreams. Life seems so much better until the royal ball when a stranger (on a par with original Swan Lakes Black swan) arrives ruffling many feathers amongst the courtiers and the Queen, ending with the Prince being placed into confinement at his mothers request.

The comical side of the current “fame” culture, and the rough end of the paparazzi treatment add a fresh dimension which we will all recognise and brings the production into the now. The sight of fourteen, strong yet fluid and graceful male swans will keep you fixated towards the stage. The duets between the Prince and the Swan are divine, showing a vulnerability between them and a deep running love. As the stranger, Westwell plays to the darker side of the character and the movements are more predatory and cold. The whole company dance superbly and each have their own character shining through.

As we near the end of act 4 and Tchaikovsky’s well known Swan Lake is building, you will get goose bumps, your hairs will stand on end and by the close you will be a soggy emotional mess with a wet face blaming it on the non existent air conditioning. Simply emotively beautiful.

Hull New Theatre – until 21 February 2019

Reviewed by Sara Garner

3***

Gisselle is a classical ballet filled with dramatic passion in a chilling and heart-rending tale of love, treachery guilt and forgiveness from beyond the grave.

The first act was slow to start including a period of orchestra music with the curtains closed presumably to build the anticipation for the audience and a further 10 minutes before we see any ballet dancing. It then builds up into the recognisable romantic tale of the delicate Giselle (Anna Fedosova) a naive young peasant girl who falls for the flirtations of the dishonest and aristocratic lover Albrecht (Yury Kudryavtsev) who is posing as a villager Loys. The rustic villagers gather their harvest, A hunting party appears where we meet the Duke and Countesses Bathilde (Albrecht’s betrothed), Giselle dances for the nobles. Hans is in love with Giselle and through his prying discovers Loys dishonestly and the first act ends with Giselle realising this. Giselle goes crazy with the shock and kills herself with Albrecht’s sword.

In the second act we meet the Wilis a group of mystical and supernatural women who dance men to death, summon Giselle from her grave. They target her lover for death, but Giselle’s great love frees him from their grasps. However, Hans is forced into an endless dance culmination in him drowning in the lake. The Corps de ballet dance led by the Myrtha the Queen of the Wilis (Miryam Roca Cruz) dance in an ethereal nature in an eerie moonlit forest haunted by these drifting spirits. The leading man flourished and seemed to float at times. The leading lady seemed unsteady at times stumbling in the first act and slipped in the second half. The second act is memorising and beautifully set.

The set is simple yet beautiful, the music was played effortlessly by the Orchestra perfectly reflecting the emotions throughout. The Choreography seemed muddled in the first act, but perfect in the second act. Overall, we enjoyed Giselle it seemed to lack some je ne sais quoi.

Yvonne Arnaud Theatre, Guildford – until 23rd February

Reviewed by Antonia Hebbert

5*****

Three men who have known each other for years find their rock-solid friendship fracturing. As they talk, fall out and realign, all sorts of hidden stuff comes to the surface. The thing that opens up the cracks is a very expensive, enigmatic, white-on-white painting. Is it art or is it s**t?

This play by Yasmina Reza has a cast of just the three, talking a lot in a cool white set that occasionally alters subtly (design and lighting by Mark Thompson and Hugh Vanstone respectively). It does no harm that they are played by Nigel Havers, Denis Lawson and Stephen Tompkinson: all of them are wonderful, and riveting to watch. They extract a lot of laughs from the apparent blankness of the painting, but this isn’t a tired comedy on modern art. It is about relationships, and what happens when people can’t keep up the polite façade of everyday appearances any more. The characters speak out all the complicated mixed feelings that underlie friendships, in a way that isn’t exactly realistic but is very truthful.

Reza wrote the original play in French. This translation is by playwright Christopher Hampton, who thinks that Reza is a great comic writer, while she herself thinks she is writing tragedy. It’s a good combination: the play is funny, but also very intense. Every word and gesture is important, and there’s no interval (it packs a lot into less than 90 minutes). Art caused quite a stir when it first appeared in London in 1996, and it still feels fresh and compelling.

The Lyceum Theatre, Sheffield – until 23rd February 2019.

Reviewed by Sophie Dodworth

4****

Picture this…an auditorium full of people dressed up in stockings, suspenders and such like, large groups of men and women drinking, laughing and singing, excitement that is so evident you can almost smell it and more audience participation than you could shake a stick at. That is what you will find at the theatre for these performances.

Richard O’Brien’s legendary rock ‘n’ roll musical returns to the UK as part of a sell-out worldwide tour, having now been seen by over 30 million theatregoers. With a new set and a fresh super talented cast, this is a tour that you don’t want to miss.

Rocky Horror follows the story of two squeaky clean college kids – Brad and his fiancée Janet. When by a twist of fate, their car breaks down outside a creepy mansion whilst on their way to visit their former college professor, they meet the charismatic Dr Frank’n’Furter…it’s an adventure they’ll never forget!

The short running time of 1 hour 50 minutes means that each half of this show is absolutely cram-packed with all your Rocky Horror favourite hits, including, Over at the Frankenstein Place, Time Warp and Sweet Transvestite. The show is also full of gags, laughs and those old double entendres…a true comedy with some up to date references and of course, Brexit gets a mention.

Ben Adams (from band A1) is cast as Brad and plays the part perfectly. He has a superb musical theatre voice and really shines in this production. Joanna Clifton (Strictly Come Dancing) takes on the role of Janet. Clifton has such defined and strong dance skills but just occasionally lacks some diction in her voice, albeit powerful and not faltering, note wise.

Stephen Webb makes a great Frank N Furter and well suited to his part, but maybe a little too over the top, if that is even possible for this role?! Callum Evans runs perfectly with his role of Rocky, he was just designed for this part with his gymnastic ability!

A real stand out performance comes from Kristian Lavercombe playing Riff-Raff, he is charismatic and charming with a unique quality to his voice. Star of the show really must go to the narrator played by Philip Franks…he really does come prepared for the unprepared nature of this role, taking on some real profanities shouted out during the audience participation.

This tour has a new look set, coming from set designer Hugh Durrant, it works really well, managing to keep the eyes alert and busy during the scene changes. Costumes (Sue Blane), which are potentially one of the most important parts of this production, since the musical began, are all as close to the original as possible; truly flamboyant, risqué and over the top.

This tour of Rocky Horror will not disappoint whether you are a die-hard fan, new to the show or simply a fan of the music…

Southwark Playhouse, London – until 9 March 2019

Reviewed by Lisa Harlow

4****

We find ourselves immersed in the household of mother Tamora (Charlie Brooks) and father Martin (Simon Limpkin) in turmoil: with themselves, their son and each other. Their son, Laurence, ‘is autistic, non-verbal and occasionally violent’.

Tamora’s imbalance caused by this situation is set against the backdrop of a promising career that has been serially stymied, and a caustic marriage full of blame and resentfulness. Martin does his best to manage at home but being unable to understand how to control the triggers for his son’s behaviour and violence, mixed with the castigation of others, leads to his own outbursts of frustration and anger.

Both rely on props of drugs and alcohol…and Gary…

Amidst it all is the calm anchor, Gary (Michael Fox), the child’s care worker.

The decision to use a puppet for the role of Laurence (Hugh Purves), has attracted a lot of negative attention for ‘dehumanising’ autistic or neurodivergent people. Given the demands required of this role, the decision seemed understandable: the puppetry was well handled and integrated well into the performance. The puppet being grey-faced, however, did not enhance the puppet’s presence at all or help counter the criticisms.

The play delivered uncomfortable notions at times, for example that ‘you can love someone and wonder what it would be like if they were someone else’. Gary’s philosophisations around autistic people and animals was also a perplexing inclusion. Criticisms have been levelled at this production for not attempting to convey life through the lens of the autistic child. But this was not the premise of the play. It is based on his many years working with learning disabled adults and children, specialising in challenging behaviour. His aim was to provide us with a cross examination of the pain and self-scrutiny that comes with being parents of a child with challenging behaviour: and this is achieved.

In spite of the content, there was humour spiralled throughout, mixed within the turbulence of emotions and outbursts of violence. The acting by all performers was excellent. Brooks, in particular, brought different contrasting elements of her personality to the surface as we held hands with her whirling around in the consequences of a number of traumatic decisions she had taken.

I found how Martin dealt with his world the most repellent, but his surrender to events, his wife and her confession was completely heart-melting. This was a moving and well-delivered story.

King’s Theatre, Edinburgh- until 23rd February 2019.

Reviewed by Hannah Plumb

3***

Classic Thriller Theatre Company’s 2019 UK tour of The Lady Vanishes is the most recent reimagining of Alfred Hitchcock’s 1938 classic film. Adapted by Anthony Lampard and directed by Roy Marsden this production contains a star-studded cast of experienced actors. Leading the cast we have wife and husband duo Juliet Mills as Miss Froy and Maxwell Caulfield as Dr Hartz who’s strong performances could be taken straight from a vintage who-done-it film. Alongside them are two younger but also well-established actors Lorna Fitzgerald playing Iris and Matt Barber in the role of Max. Fitzgerald’s performance demonstrates a real understanding of her character which allows her to carry the more emotional and tense parts of the piece with real truth. Contrasting this is Barber’s portrayal of the enthusiastic yet somewhat clumsy Englishman which brings out the comedy of the script brilliantly. The entire cast are talented performers that bring this classic to life on stage and marry nostalgia and modern well. Some of the supporting characters struggle with some of the accents that the piece demands but overall this is a well-performed piece of theatre. 

However, I do feel like the play as a whole is somewhat lacking, it seems to straddle two worlds. In one we have the classic thriller that is in line with similar Hitchcock classics, The 39 Steps, Strangers on a Train and other notable pieces of that era. In the other, we seem to have physical comedy and gags that would not be out of place in a French farce or pantomime. For example, in the middle of revealing a particularly important clue to unravelling the mystery we have clumsy and poorly designed fight choreography that leaves the audience wondering when the custard pies will be appearing. There is a conflict with the two styles of the piece which leaves you feeling that it can’t quite decide what it would like to be. I’m not sure the direction does the script justice. 

That being said, the actors navigate this with compelling performances that suck you into the mystery and make you create your own theories to try and guess the ending. If you’re a fan of this style of theatre this is an engaging adaptation of a well-loved classic. 

The Lowry, Salford- until Saturday 23 February 2019.

Reviewed by Joseph Everton.

3***

Rough Crossing, a production full of promise, steamed into Salford and docked at the Lowry last night, with a talented cast including a household name, John Partridge, a script from a writer decorated with Tony and Olivier awards, Tom Stoppard, and an acclaimed director, Rachel Kavanaugh. Dazzled by the prospect of such a production and after John Partridge’s promise of a ‘very funny’ show on ITV’s GMB, I took my seat in front of an impressive nautical set, reassured that I was in for a treat.

Charlie Stemp as Dvornichek kept me engaged as Turai (John Partridge) went about creating a play which might save the relationship of Natasha (Issy Van Randwyck) and Adam (Rob Ostlere) after a conversation regarding Natasha’s illicit affair with Ivor (Simon Dutton) drifted down from the upper deck of the ship, threatening to destroy the play and break Adam’s heart. Although the production and acting could be described as shipshape, the script was a forgettable barrage of words which achieved nothing more than the odd ripple of laughter or gentle wave of applause.

Act one gathered pace with some enjoyable moments and although slightly underwhelmed, I hoped this upward trend would continue. However, after another 45 minutes of treading water, an all singing, all dancing final number could do little to recover the sinking ship that was act two.

If you’re a fan of Tom Stoppard or if you want to see John Partridge in a different light, this show is worth an evening at the theatre. Yet despite all the enthusiasm of the cast and some great staging, Rough Crossing failed to deliver the laughs that I was expecting.

Phoenix Theatre – booking to 14 September

Reviewed by Claire Roderick

5*****

This emotional roller coaster of a musical that restores your faith in human nature has finally landed in the West End, and London is a brighter place with it here.

Come From Away tells the story of the remarkable response of the people of Gander, Newfoundland and its surrounding towns to the arrival of 7000 passengers diverted from American airspace on 9/11. Irene Sankoff and David Hein have managed to capture the welcoming atmosphere of the Newfoundlanders and create a heart wrenching but uplifting tribute to both those who helped and those who died that day. With a cast of 12 and a running time of 100 minutes, there’s a lot to fit in, and many stories that can’t be told, but this is a brilliantly paced show and Sankoff and Hein have chosen wisely when focusing on whose stories should be featured. The townsfolk are broadly but beautifully drawn, and the community’s acts of kindness and fellowship viewed through the lens of the city dwellers in their midst are true beacons of light in the darkness. The show follows two couples through their stay in Gander – one gay couple from Texas who react very differently to their stay in Gander, and the blossoming love between two strangers who only meet because of the situation. The confusion and panic of the passengers as they sit on the planes without news is palpable, and the tension is thankfully broken by the yells of passengers who have found the mini bottles of booze. The moment they find a TV and see footage of the morning of 9/11 is possibly one of the most powerful and moving things you will ever see on stage.

Amongst the celebration of humanity, the victims of the terror attacks are never forgotten, and the character of Hannah (Cat Simmons) is a stark reminder. As other passengers revel in the welcome, she sits by the phone, waiting for news of her son, a NY firefighter. Rachel Tucker’s impressive performance as pilot Beverley Bass reaches new heights as she sings “Me and the Sky” with the female members of the company, a wonderful number about Bass’s love of flying and her horror that a plane can be used as a weapon.

The musical numbers are a glorious mix of rollicking folk and sob-inducing ballads which will all make you want to leap to your feet and make the whole show one long standing ovation. The cast are all brilliant, and believable as they slip between characters – you’ll want to jump on stage for the Screech In to become a Newfoundlander as well!

I’ve seen a lot of standing ovations, but after this show it was something different – tears, whoops and hugs all round as this incredible show reminds us that there is goodness and love in these uncertain times. A brilliant, beautiful show – GET A TICKET NOW.

JANET DIBLEY ANNOUNCED

TO LEAD CAST IN UK TOUR OF HENRY JAMES’

TURN OF THE SCREW

Following the critically acclaimed 2018 tour, Henry James’ iconic, genre defining, ghost story Turn of the Screw returns for a UK tour, opening in Exeter Northcott Theatre 28^th March and today announces Janet Dibley in the role of The Governess and the return of Maggie McCarthy as Mrs Grose.

1840. A young governess agrees to look after two orphaned children in Bly, a seemingly idyllic country house. But shortly after her arrival, she realises that they are not alone. There are others – the ghosts of Bly’s troubled past. The Governess will risk everything to keep the children safe, even if it means giving herself up to The Others. Years later, confronted by the past she is compelled to account for what actually happened to her and the innocents under her protection. This fresh, thrilling adaptation from Tim Luscombe deftly retains the ambiguity of James’ original, and lets you draw your own conclusions about the events at Bly and where guilt resides.

Janet Dibley first became a household name in the much-loved ITV hit series The Two of Us. She went on to star in a number of TV roles including Eastenders, Doctors, Broadchurch and more recently Coronation Street. Her most recent theatre work have been the acclaimed tours of Kindertransport, A Murder is Announced, and Women on the Verge of HRT.  In 2016 Janet created and performed the title role in the huge hit UK tour of Jackie the Musical and later this year can be seen back on the screen in the BBC’s award-winning series Shakespeare and Hathaway. Maggie McCarthy has worked extensively in Film, TV and Theatre including Call The Midwife for the BBC.

Turn of the Screw is presented by Dermot McLaughlin Productions Ltd in co-production with the Mercury Colchester, Wolverhampton Grand and joined for this tour by Exeter Northcott Theatre. Written by Tim Luscombe, it is directed by Daniel Buckroyd (Spamalot, Sweeney Todd: The Demon Barber of Fleet Street, Clybourne Park, End of the Rainbow) with design by Sara Perks.

This new adaptation of Henry James’ seminal tale, the original inspiration for Susan Hill’s The Woman in Black and a number of films, is a masterclass in stage-craft deliciously atmospheric set and lighting design and an evocative soundtrack

Enjoy stylish edge of your seat theatre with a show guaranteed to be provocative, moving and above all terrifying! Too find out more visit www.turnofthescrewplay.com

Contains scenes of mild peril

Recommended for 14+yrs

Approximate running time 2hrs including interval

Dermot McLaughlin wishes to acknowledge financial support from Stage One for Turn of the Screw. Stage One is a registered charity which exists to support commercial theatre producers in order to sustain the quality of commercial theatre throughout the UK. Stage One identifies, supports, guides and trains emerging theatre entrepreneurs whilst simultaneously encouraging creative, successful and responsible practice.

PRAISE FOR TURN OF THE SCREW

★★★★★

“impressively seamless…sophisticated…thought-provoking”

Theatre News

★★★★

“intelligent, insightful”

The Stage

★★★★

“… has the audience guessing long after they have left the theatre”

The Sussex Newspaper

LISTINGS

28th – 30th March – Exeter Northcott Theatre https://exeternorthcott.co.uk/calendar/turn-of-the-screw/

2nd -6th April  – Haymarket Theatre Basingstoke http://www.anvilarts.org.uk/whats-on/turn-of-the-screw

9th-13th April – Theatre Royal Nottingham https://trch.co.uk/whats-on

16th – 20th April – Perth Concert Hall – https://www.horsecross.co.uk/whats-on/turn-of-the-screw-50403

23rd – 27th April – Churchill Theatre Bromley https://churchilltheatre.co.uk/Online/tickets-the-turn-of-the-screw-bromley-2019

30th April – 4th May – Cast Doncaster https://www.castindoncaster.com/whats-on/turn-of-the-screw/

7th May – 11th May – Derby Theatre https://www.derbytheatre.co.uk/turn-of-the-screw

21st May – 1st June – York Theatre Royalhttps://www.yorktheatreroyal.co.uk/event/turn_of_the_screw.php#.XENkRy2cbOR

4th June – 8th June – Gaiety Theatre Dublin  https://www.gaietytheatre.ie/events/turn-of-the-screw/

11th June – 15th June – Oxford Playhouse https://www.oxfordplayhouse.com/whats-on/main-stage/drama/

COLLABRO

THE WORLDS MOST SUCCESSFUL MUSICAL THEATRE GROUP

IN CONCERT

SPECIAL GUESTS ANNOUNCED

KERRY ELLIS – WEST END, BROADWAY + RECORDING STAR

LARUEN SAMUELS – BBC1’s ‘OVER THE RAINBOW’ FINALIST + ‘WE WILL ROCK YOU’

Collabro will be back on the road next month for their biggest ever tour and have announced some very special guests joining them across the UK.  West End and Broadway Star Kerry Ellis and BBC1’s Over the Rainbow Finalist and We Will Rock You Star Lauren Samuels will be joining the boys on selected dates.

Collabro, the world’s most successful musical theatre group, met in 2014 for their first rehearsal at a London pub, just a month later went on to rouse the whole of Hammersmith Apollo into a standing ovation during their first ever public performance of ‘Stars’ for the Britain’s Got Talent judges.

Since winning Britain’s Got Talent four years ago with one of the biggest majorities ever Collabro have released a Number 1 debut album “Stars”, followed by “Act Two” which peaked at Number 2, performed at the Royal Variety Performance; been voted ‘The Nation’s Favourite BGT Winner’ and are now enormously successful internationally. Notably, they have performed for over 30 million people in Japan on Music Station on two separate occasions – receiving a Gold Disc for Best International Artist alongside Sam Smith and Meghan Trainor. They have also completed two tours of America and signed a major US record deal.

2018 has already seen Collabro embark on a sold-out tour of Asia, performed as special guests on Barry Manilow’s UK Arena Tour and release their fourth studio album ‘Road To The Royal Albert Hall’ for more information go to Officialcollabro.com.

The musical theatre group’s ‘Road to the Royal Albert Hall’ Tour will be kicking off at South Shields Customs House on February 10^th and will see the group perform at a variety of intimate theatres and iconic venues over three months, before finishing the tour at the world renowned Royal Albert Hall in London. Collabro will also have Youth Choirs to accompany them at each venue of their 51 date UK Tour alongside support Georgia and The Vintage Youth.

Tickets are on sale now and available from www.gigsandtours.com / 0844 811 0051, www.ticketmaster.co.uk / 0844 826 2826, and direct from venue box offices. 

COLLABRO ‘ROAD TO THE ROYAL ALBERT HALL’ 2019 UK TOUR DATES

support from Georgia and The Vintage Youth

Special guest Kerry Ellis will be performing at dates highlighted as *

Special guest Lauren Samuels will be performing at dates highlighted as +

February 2019

Sun 10 South Shields Customs House +

Mon 11 Chester Storyhouse *

Tue 12 Milton Keynes Theatre *

Thu 14 Carlisle Sands Centre +

Fri 15 Buxton Opera House *

Sat 16 Matinee – Leeds City Varieties Music Hall *

Sat 16 Evening – Leeds City Varieties Music Hall *

Mon 18 Scunthorpe Baths Hall *

Tue 19 Hull City Hall +

Thu 21 York Grand Opera House +

Fri 22 Crewe Lyceum Theatre +

Sat 23 Blackpool Opera House +

Mon 25 Glasgow Royal Concert Hall*

Tue 26 Aberdeen Music Hall*

Thu 28 Perth Concert Hall +

March 2019

Fri 01 Edinburgh Queens Hall*

Sat 02 Llandudno Venue Cymru Theatre*

Mon 04 Gateshead Sage 1*

Tue 05 Middlesbrough Town Hall*

Thu 07 Harrogate Royal Hall +

Fri 08 Halifax Victoria Theatre*

Sat 09 Sheffield City Hall +

Mon 11 Kings Lynn Corn Exchange*

Tue 12 Cheltenham Town Hall*

Thu 14 Barnstaple Queens Theatre*

Fri 15 Weston-Super-Mare Playhouse*

Sat 16 Bexhill De La Warr Pavilion +

Mon 18 Southend Cliffs Pavilion*

Tue 19 Cambridge Corn Exchange*

Thu 21 Stevenage Gordon Craig Theatre*

Fri 22 Guildford G Live*

Sat 23 Peterborough The Cresset*

Mon 25 Isle of Wight Shanklin Theatre +

Tue 26 Swindon Wyvern Theatre*

Thu 28 Torquay Princess Theatre

Fri 29 Nottingham Royal Concert Hall*

Sat 30 Lowestoft Marina Theatre*

April 2019

Mon 01 Tunbridge Wells Assembly Halls*

Tue 02 Ipswich Regent*

Thu 04 Reading Hexagon*

Fri 05 Cardiff St David’s Hall*

Sat 06 Bournemouth Pavilion Theatre +

Mon 08 Bath Forum*

Tue 09 Worthing Pavilion Theatre*

Thu 11 Salisbury City Hall*

Fri 12 Swansea The Grand Theatre +

Sat 13 Leicester De Montfort Hall*

Mon 15 Birmingham Symphony Hall*

Tue 16 Wolverhampton Grand Theatre*

Thu 18 Liverpool Philharmonic Hall*

Fri 19 Manchester Bridgewater Hall*

Sat 20 London Royal Albert Hall * +