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Birmingham Hippodrome – 31 October 2024

Reviewed by Nadia Dodd

4****

I can honestly say I had no real knowledge of this trial or the outcome that followed and I still don’t know what the actually true trial outcome was, as in the hilariously funny performance by Awkward Productions the audience were able to vote on the guilty party at the end.

I can also state that I have never been to such a show that are so keen to involve their audience, it was genius and the audience members who were directly involved had some fantastic improvisational skills – well done you guys ! For audience members who don’t want to get up on stage don’t worry you can also join in by throwing snowballs – what fun!

Linus Karp and Joseph Martin who have both written the performance help us to recount the collision way back in 2016 between Hollywood Superstar Gwyneth Paltrow (Linus) and a retired optometrist from Utah, Terence Sanderson (Joseph).

Both are fantastic at recovering on stage if/when anything went slightly off course such as Gwyneth’s hair sticking to her microphone and sounding like a ticking clock or when she tried to have a quiet drink of water but must have forgotten that every little sound gets picked up by that same said microphone – adding to my thrill of live shows, anything can happen.

Apart from the humour and acting, the story unfolds also using song, dance and puppetry.

Plenty of references by Gwyneth of her privileged childhood, successful acting career, relationships and children. Apple her daughter plays quite a large part throughout the show, I wouldn’t want to give anything away of course.

The 80-minute performance starts with a run through of the background of both parties, followed by the collision itself of the ski slopes of Deer Valley, before the court case and verdict.

Paltrow and Sanderson are the stars of the play although we also meet many other characters along the way. My favourites appeared in puppet form, Joseph Martin proving yet again to be a hilarious yet skilled puppeteer. We also have an onscreen cameo from Drag icon Trixie Mattel as Paltrow’s mother, Blythe Danner, there were plenty of fans in the crowd you could tell.

Linus and Joseph have such a rare talent, they ad-lib and bounce off each other fantastically, no wonder the show is doing so well on the UK and Ireland tour.

With tongue-in-cheek humour, a great cast, sharp writing and lots of snowy fun, ‘Gwyneth Goes Skiing‘ is a great treat for anyone who can catch them at one of their next locations.

Playhouse, Sheffield – until 16th November 2024

Review by Sharon Farley

5*****

Captures your attention like a bear trap

While technically this can be billed as a phenomenal one man show, it’s also the combination of sound (Giles Thomas), lighting (Joshua Pharo), and set design (Anisha Fields) that makes KENREX truly electrifying. The senses are bombarded with information that ratchets up the adrenaline and excitement almost from start to finish. Don’t let the meandering, low-key entrance of the performers fool you, you’re going to need to brace yourself for an explosive stage show that captures your attention like a bear trap.

Jack Holden (Cruise, Ten Percent, Marriage) and Ed Stambollouian (Night School, Joe Lycett: More, More, More, BLUSH) have co-written this dramatisation of a true crime story set in small town Missouri. Stambollouian also directs while Holden performs their sizzling interpretation of how a hulking miscreant terrorises the townsfolk of Skidmore for years until they are pushed to the brink. The law repeatedly fails to protect them, so they rain down their own justice upon him in broad daylight before 60 pairs of eyes, yet his murder remains unsolved. This is no spoiler, the case is well documented, but this version brings the events to life in a wild ride that will leave you clinging to the edge of your seat.

Holden’s performance is mesmerising, he contorts his way through a plethora of characters, twisting from the sinister to the comical, the belligerent to the stoic, and back again. Not only does he single-handedly deliver two hours of intense dialogue, but he does so with blistering precision. Every movement is carefully calculated to allow each voice in this terrible tale to be heard.

The masterful use of space and light is ignited into vivid technicolor by the high-octane soundtrack created by John Patrick Elliot (The Little Unsaid), an award-winning composer who both wrote and performs the live, foot stomping Americana that brilliantly underpins the drama created by Holden, giving KENREX the feel of a big screen, cinematic epic unfolding before your eyes.

A stage play as rigorous and captivating as KENREX is a rare thing of beauty. Throughout the interval, the buzz rippling through the audience was palpable and the performers received a well deserved standing ovation at the end. Sheffield has been treated to a first look at this production that, if justice is served, will run and run.

Bravo!

Theatre Royal Drury Lane, London – until 1 November 2024

Reviewed by Emily Smith

2**

On Thursday October 31st Little Piece of You: An Atypical Musical, in concert, had its European premiere at the Theatre Royal Drury Lane. With music and lyrics by Kjersti Long, who is only 17, and Jeremy Long who is also lead producer, the songs have a modern pop/rock feel, in the nostalgic style of well-loved bands such as Paramore. Kjersti Long started writing the music for the show at just 14 years old, and in many ways it is the music that is the star, along with Kjersti’s incredible voice and stage presence. In her own words, the songs were her way to ‘help others work through emotions; the good, the bad, and the dark’.

Unfortunately, the book, by Melissa Leilani Larson is what really lets this show down – and given the story is what weaves the dialogue and songs together, this is quite a fundamental flaw. The story follows a teenage girl and her relationship with her mother, with flashbacks to the same mother/daughter relationship in previous generations of the family, who all have the same artistic talent yet get trapped in cycles of depression.

In the opening numbers, a big part of the plot appears to be ‘the daughter’s’ (Dujonna Gift’s) obsession with Sydney Hill (Kjersti Long) who appears onstage with backing singers, as if performing at a concert, each time ‘the daughter’ plays one of her songs through her headphones/radio/speaker. As most people who have a favourite artist know, they usually have a song that fits any one of your moods or occasions. The concept of Sydney Hill appearing throughout the show when the different songs are played feels very original, but unfortunately, this famous singer commits suicide quite early on. That being said, she still appears on stage to deliver the songs throughout the rest of the show, which feels odd, with the suicide only mentioned in passing once or twice as a contributing factor to ‘the daughter’s’ depression.

Between these factors, a lot of the dialogue felt slow, and poorly paced, with the interwoven songs failing to connect to the conversations. The whole show unfortunately lacked emotional depth and I failed to feel connected to the characters and their plight. Having seen Next to Normal earlier this year, it is hard not to compare the two shows that both deal with significant mental health issues. Comparatively, Next to Normal delivered powerhouse performances with intensity and emotion, whereas Little Piece of You failed to tug on any heartstrings in my case.

One saving grace was the casting of Dujonna Gift as ‘the daughters’. Gift recently finished playing the female lead in Two Strangers Carry a Cake Across New York and it is clear that she is incredibly talented, able to deliver a powerful performance and flawless vocals. Equally, Mica Paris (‘the mothers’) delivered a soulful performance. That being said, the duets and harmonies between these two, and Long, didn’t gel, which may have been contributed to by ongoing sound issues that plagued the performance in places. Individually, the vocals were great, but unfortunately not when brought together.

Justin Williams’ set design and Tim Oliver’s lighting design were impressive for a show that is only playing two nights. The stage consisted of a metal frame of a house centre stage, with a traditional orchestra to the left of the stage and a rock band on the right, and backing vocalists appearing at the top rear of the stage whenever Long came to deliver one of her musical numbers.

For me, the eight members of the ensemble did little to add to the performance, often appearing simply to manoeuvre items across the stage, or pass things around in circles. While some choreography worked, in general it felt they were misplaced, that there were too many of them, and it left the performance feeling confused.

The real star of the show is the music and lyrics, delivered with power and presence by Kjersti Long. Perhaps with a different story these songs could have a new life, but for me this show fell flat.

Yvonne Arnaud Theatre, Guildford – until 2nd November 2024

Reviewed by Liberty Noke

5*****

Birdsong is a stage adaptation by Rachel Wagstaff of the novel by Sebastian Faulks’. The play opens with a man in a graveyard he talks to the gardener about the war cemetery they are in and explains that he is looking for someone in particular then the scene changes and we are in pre war France. We meet Stephen Wraysford played by James Esler. He has travelled from England to stay with the family of a factory owner and write a report of the factory for his guardian at home. Stephen quickly falls in love with the factory owners wife, Isabelle (Charlie Russell) as he sees her helping to feed the poor workers in the factory. The whole first act is set here in France and we watch the Stephen and Isabelle’s love affair develop and Isabelle’s husband mistreat her. The act culminates as the couple are discovered by Isabelle’s step daughter. The audience watches in horror as Isabelle’s husband beats and torments her but there is far more anguish to come in act 2.

Act 2 opens in the trenches in France in World War 1. We meet a young soldier named Tipper, scared and anxious to impress his colonel who is revealed to be the same Stephen Wraysford that had fallen in love with Isabelle. We meet various other men in the trenches all of whom perfectly express the terror and comradery that would have been felt by the soldiers fighting the Great War. The soldiers tell stories of their loved ones back home and the fear they portray with their acting moved some of the audience to tears. When crawling through tunnels in the trenches a panel is lowered from the ceiling over the stage to represent this. The atmosphere of war is made real by loud bangs and flashes, there are moments when the audience are made uncomfortable.

All of the soldiers think of their loved ones to help them through the war and Stephen talks of Isabelle, of how they ran away together and lived happily until one day he came home to find her gone. Still he prays to survive so that he can find her again.

Birdsong is one of the best depictions of war I have ever seen. The creatives involved in this production brought the terror of war to the stage in Guildford in a way I have never seen before. The audience are wrapped up in a heart-wrenching story of love and loss hanging on the worst of every character. I cannot recommend this play enough although I also recommend you bring a tissue.

‘WHY ARE YOU DRESSED SO SCARY!?’

IT’S HALLOWEEN, DUH! AND MEAN GIRLS EXTENDS TO JUNE 2025

www.MeanGirlsMusical.com

Mean Girls extends to 8 June 2025 at the Savoy Theatre

Over 75,000 new tickets released…grool

‘It’s Halloween, duh!’ – Today, 31 October,the producers of MEAN GIRLS in the West End – Lorne Michaels, Sonia Friedman Productions, and David Ian for Crossroads Live – are delighted to share a fetch Halloween treat – MEAN GIRLS is extending to 8 June 2025 with over 75,000 new tickets released for sale.

MEAN GIRLS, the smash hit musical comedy based on the Paramount Pictures film of the same name, which was released 20 years ago in April 2004, opened to critical acclaim at the West End’s Savoy Theatre on 26 June 2024.

The MEAN GIRLS cast comprises Charlie Burn (Cady Heron), Georgina Castle (Regina George), Elèna Gyasi (Gretchen Wieners), Grace Mouat (Karen Smith), Elena Skye (Janis Sarkisian), Tom Xander (Damian Hubbard), Daniel Bravo (Aaron Samuels), Lucca Chadwick-Patel (Kevin Ganatra), Ako Mitchell (Mr Duvall), and Zoë Rainey (Ms Heron, Ms Norbury and Mrs George).

They are joined by Tia Antoine-Charles, Georgia Arron, Liam Buckland, Shonah Buwu, Baylie Carson, Freddie Clements, Siobhan Diffin, Clíona Flynn, Fergie Fraser, Angus Good, Jenny Huxley-Golden, Holly Liburd, Corey Mitchell, Mervin Noronha, Aharon Rayner, Trézel Sergeant, Josh Singleton, Annie Southall, Lillia Squires, Tommy Wade-Smith and Holly Willock.

It’s gonna be a little bit dramatic…

Get in, loser, MEAN GIRLS is in London! Broadway’s hilarious hit musical from an award-winning creative team including writer Tina Fey (“30 Rock”), composer Jeff Richmond (“Unbreakable Kimmy Schmidt”), lyricist Nell Benjamin (Legally Blonde) and director and choreographer Casey Nicholaw (The Book of Mormon), is at the Savoy Theatre.

Meet The Plastics – Regina, Gretchen and Karen. They rule North Shore High and will burn anyone who gets in their way. Home-schooled Cady Heron may think she knows a thing or two about survival of the fittest thanks to her zoologist mom, but high school is a whole new level of savage. When Cady devises a plan to end Regina’s reign, she learns the hard way that you can’t cross a queen bee without getting stung.

Expect iconic characters, razor-sharp wit, and killer songs. Grab your friends and your cool mom, this is going to be so fetch!

The Plastics’ reign continues at the Savoy Theatre. You know you want to sit with us – book your tickets now and don’t forget… on Wednesdays we wear pink!

The creative team for MEAN GIRLS in the West End comprises Tina Fey – Book, Jeff Richmond – Music, Nell Benjamin – Lyrics, Casey Nicholaw – Direction and Choreography, Scott Pask – Scenic Design, Katrina Lindsay – Costume Design, Kenneth Posner – Lighting Design, Brian Ronan – Sound Design, Finn Ross and Adam Young – Video Design, Josh Marquette – Hair Design, Mary-Mitchell Campbell – Musical Supervision, Vocal, Dance and Incidental Music Arrangements, and Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting – Casting.

MEAN GIRLS is now booking to 8 June 2025 at the Savoy Theatre. Rush rate tickets at £25 available for every MEAN GIRLS performance, in clear view locations. The rush rate is available through the TodayTix app.

Here’s Where You Belong! Every Wednesday at 10am, MEAN GIRLS releases front row seats for performances in two weeks’ time. Tickets are capped at 4 per transaction (you go, Glenn Cocco).

MEAN GIRLS access performances currently on sale are as follows – Captioned Performance on Saturday 15 March 2025 at 2.30pm and British Sign Language Performance on Saturday 10 May 2025 at 2.30pm.

MEAN GIRLS are proud to be partnering with ATG Entertainment’s West End Creative Learning to launch a ticket scheme for UK state schools and educational organisations where price may be a barrier to going to the theatre, offering a limited amount of £20 tickets across select Friday matinee performances between 7 January 2025 and 23 May 2025 plus offering 3 bespoke show related workshops for school and group bookers; Mean Girls: WHERE DO YOU BELONG? Anti-bullying workshop, Mean Girls: FEARLESS! An LGBTQ+ Allyship workshop and a show related Mean Girls: Musical Theatre workshop.

MEAN GIRLS had its world premiere in 2017 at the National Theatre in Washington, D.C and opened on Broadway in April 2018 at the August Wilson Theatre to ecstatic responses, where it played to packed houses. The show then went on a hugely successful US tour in 2019 and is currently on its second US tour. The MEAN GIRLS musical film adaptation from Paramount Pictures was released globally in cinemas in January 2024 and was the #1 film at the Box Office in multiple countries including the UK and US.

MEAN GIRLS has had a profound impact on pop-culture for nearly 20 years. Tina Fey’s hilarious and relatable portrayal of high school life struck a chord with audiences across the globe and the film’s whip-smart satire, iconic catchphrases, and unforgettable characters made it a phenomenon that remains a cultural touchstone to this day.

‘SCISSORHANDZ’

A MUSICAL REINVENTED

TO HAVE EUROPEAN PREMIERE AT

SOUTHWARK PLAYHOUSE ELEPHANT

FROM 23 JANUARY 2025

TICKETS ON SALE NOW

Producers Bradley Bredeweg, Kelley Parker & Brian Pendleton, with co-producers Lance Bass and Michelle Visage, are thrilled to announce the highly anticipated European premiere of Bredeweg’s critically acclaimed musical SCISSORHANDZ: A Musical Reinvented which will open at Southwark Playhouse Elephant from 23 January 2025 for an exclusive 10-week engagement closing on 29 March. There will be an official opening night on Thursday 30 January. Tickets on sale now!

SCISSORHANDZ is a fresh and funny reinvention of Tim Burton’s cult classic Edward Scissorhands. This pop-musical parody extravaganza is a celebration of those who dare to be different, packed with a killer soundtrack featuring the likes of Taylor Swift, Lady Gaga & Alanis Morissette, plus more iconic hits you know and love. This is more than just a musical; it’s a movement!

After a wildly successful, sold-out run in Hollywood, where it captivated audiences and earned rave reviews, SCISSORHANDZ is set to take London by storm.

Casting to be announced.

Michelle Visage said ““I am beyond excited to join the producing team for SCISSORHANDZ! The energy, the message, the joy—it’s everything we need right now. In a world that feels a little upside down, this show is a celebration of life, individuality, and fierce self-expression. It’s a reminder to live out loud and take up space. And let me tell you, we’re not just creating a show, we’re creating a movement. You know I’ll be throwing some fabulous parties during the run—I mean, what’s a Michelle Visage production without a little sparkle and sass? Get ready, because it’s going to be an unforgettable ride!”

Lance Bass added “Producing SCISSORHANDZ has been one of the greatest pleasures of my career and I can’t wait for London to experience this show! I think audiences in the UK will really embrace the show. It hits every note, pulling at your heartstrings and bringing every emotion to life! From the moment the curtain rises, you’re taken on a rollercoaster ride that’s both whimsical, hilarious, and deeply moving. It’s not just a musical —it’s a sensory journey, blending stunning visuals with a playlist packed with your favorite songs, making it feel like the soundtrack of your life. You’ll laugh, you’ll cry, and by the end, you’ll be on your feet, feeling like you’ve just experienced something truly unforgettable.”

The producers said “We are beyond excited to bring SCISSORHANDZ to London, a city that has always championed exciting and unique theatre. We believe this show is for anyone who’s ever felt marginalised for being unique themselves — whether that means quirky, queer, or anything in between. After an incredible run in Los Angeles, where audiences returned multiple times and even formed a dedicated following as ‘Scissorfans,’ we knew London was the perfect next step. It’s the epicentre of musical theatre and fresh, innovative work. We can’t wait to introduce this joyful, 90-minute celebration of individuality to a city that truly understands the power of embracing what makes people unique“

And finally, Director Bradley Bredeweg said “As a lonely quirky gay kid growing up in the 80s and 90s, this film meant the world to me because it spoke to anyone who felt like they didn’t quite fit in. That spirit of celebrating the weird and wonderful is at the core of SCISSORHANDZ — a tribute musical and a parody all rolled into one. Our thrill ride of a show is packed with joy and heart, and it’s about owning exactly who you are, even if you happen to have scissors for hands. In a world where people crave that kind of joy more than ever, I’m honoured to bring this story to a new audience in London.”

SCISSORHANDZ is written and directed by Bradley Bredeweg with choreography by Alexzandra Sarmiento, musical direction by Gregory Nabours, set design by James Pearse Connelly, costume design by Abby Clarke, , lighting design by Adam King, sound design by Yvonne Gilbert, casting by Harry Blumenau Casting, production management by James Anderton and general management by Wildpark Entertainment.

Website: scissorhandzthemusical.com

Instagram: @scissorhandzmusical

TikTok: @scissorhandzmusical                                                   

LISTINGS INFORMATION

23 January – 29 March 2025

Southwark Playhouse Elephant

1 Dante Place,

London,

SE11 4RX

Performances:

Previews all at 7pm

Wednesday, Thursday at 7pm

Fridays at 6pm & 8.30pm

Saturdays at 3pm & 7pm

Sundays at 2pm & 6pm

w/c 24 March

Tuesday, Wednesday, Thursday at 7pm

Friday at 6pm & 8.30pm

Saturday at 3pm & 7pm

Sunday No performance

N.B there is an additional performance at 7pm on Tuesday 18 February

Box Office

020 7407 0234 / southwarkplayhouse.co.uk

Box Office opens Mon – Sat, 10am – 6pm.

Tickets

Previews 23 – 29 January | All tickets £20

Standard tickets from £25  

Concessions apply to full time students, patrons over 65, patrons under 16, disabled patrons, and patrons claiming Universal Credit.

Disabled patrons may bring a companion/carer free of charge.

Southwark Playhouse has a group booking rate that offers ten tickets for the price of nine.

York Theatre Royal – until Saturday 2nd November 2024

Reviewed by Michelle Richardson

5*****

Bristol Old Vic’s production of Wonder Boy is currently playing at York Theatre Royal. The show uses state of the art live creative captioning and BSL performance, running in conjunction with traditional theatre and live music.

Sonny is a 12-year-old foster boy, struggling at home and within the education system. Finding himself at a new school, he hides in silence behind a debilitating stammer. He spends his time engrossed with his drawings and in his own world with Captain Chatter, a character created from his imagination. Contrary to the name, Captain Chatter never speaks, using BSL to communicate.

Luckily for Sonny he encounters Wainwright, the teacher that every pupil deserves, but unfortunately rarely gets. She is blunt and forthright but cares deeply. With patience and understanding, she is determined for Sonny to find his voice.

Sonny is joined on his journey by his total opposite, Roshi. Bonding together after both getting into trouble. They are forced to join the drama club and participate in the school’s production of Hamlet. She is a force of nature and just the type of friend Sonny needs.

Hilson Agbangbe, in his professional debut, is outstanding as Sonny. He had the entire audience invested in Sonny’s story. His physicality in the role, as he is battling his demons, is intense and you can feel the struggle he is going through. His portrayal was mesmerising to watch and I’m sure he has a bright future ahead of him.

Naia Elliot-Spence is another in her professional debut as Roshi. She is a whirlwind on stage and her synopsis of Hamlet was breathtaking to watch, a highlight of the show. She is another one to watch for the future.

Eva Scott is excellent as Wainwright. She is engaging to watch as the supportive teacher. Full of spirit and passionate in her teaching, whilst having to battle against the establishment, everyone deserves a voice.

Captain Chatter is played by deaf actor Ciaran O’Breen. His facial expressions and physicality on stage is animating. Completing the cast of five, is Meg Matthews as Miss Fish and mum. She switched between the roles of Sonny’s memories of his mother, and the demon headmistress with ease.

The staging was stripped back, but very effective with creative captioning being integral to the story.

Wonder Boy is a show full of vulnerability, but the story is about resilience and the power of communication.

This is a truly wonderful, imaginative and immersive show that deserves to be seen by all, over the age of 12, as there is some swearing involved. I cannot recommend it more.

Curve Theatre Leicester – Until 9th November 2024

Reviewed by Amarjeet Singh

3***

SuperYou is a self-labeled, uplifting rock musical, written and composed by Lourds Lane. It centers around the multilayered journey of a comic book/graphic artist and marketeer, Katie, defender of the marginalised and spokesperson for the downtrodden. She discovers self-empowerment and her own voice via support from her superheroine comic book creations, when she needs them the most. At least I think that’s what the story is about…

The production has real potential, but it is poorly structured and narratively incoherent, leaving the show feeling confused and rushed. There are a multitude of themes in the show, from Katie’s personal journey, battling inner demons, a love story, traumatic family issues, amongst many others. Unfortunately, this overload keeps taking us down various paths and leaves little room for any solid story development and dilutes characters, so they stay shallow. We never truly understand their motives and they make sudden shifts in their actions which jars with the trajectory they appeared to be on. This doesn’t allow us to warm to them. We flit from situation to situation in the blink of an eye and just when we think we have a grasp of what’s going on, another curve ball is thrown in.

The cast is predominately a powerhouse of powerful women, and the vocals are sensational. Vicki Manser, as Katie, is an incredible performer. She brought the house down singing a stunning rendition of ‘Fragmented’. Aaliyah Monk was delightful as the younger Katie along with Owen Lloyd, who shone as her brother. Courtney Stapleton, Kingsley Morton and the other ‘Boltz’ illuminated the stage as they belted out their individual numbers and wowed in their superhero suits designed by Cynthia Nordstorm. Set design by Anna Louizos is deceptively simple and wonderfully effective. Sliding screens act as blank canvasses upon which projections by Caite Hevner are screened, so we could see Katie’s comics being drawn in real time, which was a super clever idea.

SuperYou, has the elements to become a successful musical, but it needs to decide what it wants to be, what it wants to focus on and for that to be finessed into fullness.

Cambridge Arts Theatre, Cambridge – until Saturday 2^nd November 2024

Reviewed by Steph Lott

5*****

Ken Ludwig’s stage adaptation of Agatha Christie’s beloved murder mystery proves that there’s still plenty of “steam” in this classic tale. The production, which opened last night at the Cambridge Arts Theatre under Lucy Bailey’s assured direction, demonstrates how effectively this story can transition from page to stage, offering a fresh perspective even for those familiar with its various screen incarnations.

Michael Maloney’s Hercule Poirot deserves immediate recognition as a worthy addition to the pantheon of great Poirot portrayals. Following in the footsteps of legends like David Suchet, Peter Ustinov, and Albert Finney might intimidate lesser actors, but Maloney crafts his own distinct interpretation while honouring the essential characteristics that make Poirot such an enduring figure. His impeccable comic timing elicits genuine laughter from the audience, while his moments of moral deliberation in the play’s darker segments showcase his dramatic range. The famous denouement scene, in particular, demonstrates Maloney’s ability to hold the audience spellbound as he unravels the complex web of deception.

Bob Barrett brings warmth and wit to Monsieur Bouc, creating a delightful dynamic with Maloney’s Poirot. Their scenes together provide much of the production’s humour, with Barrett’s more expansive performance style complementing Maloney’s precise characterisation.

Mike Britton’s ingenious set design deserves special mention. The creative use of sliding panels and rotating elements transforms the confined space of a railway carriage into a series of distinct locations, maintaining the claustrophobic atmosphere essential to Christie’s story while allowing for fluid scene transitions. The integration of pre-recorded footage with the physical set pieces proves particularly effective, adding a cinematic dimension to the theatrical experience. Even when a minor technical hiccup occurred, the stage management team handled it with such professional smoothness that it barely registered with the audience.

The production succeeds in solving one of the key challenges in adapting this particular story: how to maintain suspense when so many audience members know the solution to the mystery. Bailey’s direction keeps the focus on the psychological aspects of the story, allowing us to become invested in the moral dilemma central to the story rather than merely the mechanics of the plot.

This adaptation understands that the appeal of Christie’s story lies not just in its clever plot twists but in its exploration of justice, revenge, and moral ambiguity. The production manages to honour both the story’s serious themes and its entertainment value, creating an engaging evening of theatre that will satisfy both Christie aficionados and newcomers to the tale.

Festival Theatre, Malvern – until 2nd November 2024

Reviewed by Courie Amado Juneau

4****

Kazuo Ishiguro’s 2005 novel Never Let Me Go tonight hits Malvern Theatres with a cast of fine young actors.

The set (from Set and Costume Designer Tom Piper) was an intriguing one, with an arc of doors and windows opening up on a rather clinical looking space populated only with some chairs and a bed. Stark and perfectly fitting for the unfolding tale – set in an alternative universe where we follow a group of children growing up at a private school, aware they have a special purpose but unaware just how special they are until they leave those safe environs and venture out into the big wide world… As such, it’s part a coming of age tale and part a dystopian tale in the grand tradition of Brave New World (and the like).

There was a wealth of talent on display. The three leads had a touching rapport which made for a highly compelling and believable love triangle. Nell Barlow (as Kathy) was on stage every moment as far as I can recall and she was nothing short of sensational. Her interplay with every other actor, in every scene, was powerful and varied – she was a joy to watch. Her friends Ruth (Matilda Bailes) and Tommy (Angus Imrie) ably supported her, with both blossoming over the course of the evening as their characters arcs unfolded. All three grabbed the chance to explore the full gamut of emotions to their uttermost, and they did it with a youthful abandon and energy that did them and the work much credit!

The entire cast were magnificent and made for an impactful ensemble. Most played multiple roles, giving full scope to the limited stage time these characters had in impressive fashion. I would like to single out for special mention Susan Aderin (playing Miss Emily, head of the school). She was pitch perfect throughout especially in her truly moving performance during the reunion with the students towards the end. Emilie Patry as Madamme (and Miss Lucy) was also extremely moving with a portrayal that was all the more powerful for its beautifully crafted understatement.