The Comedy About a Bank Robbery, is a comedy but you probably would’ve guessed that by the name. A play with laughs and gags from start to finish, with witty one liners and gags that will make the serious prunes belt out the most heinous laughs. This isn’t a show with jokes inserted in, this show is a joke. Set in Minneapolis in the late 1950’s, it follows a plan to steal a very big diamond worth a very big sum. With mishaps and confusing plots along the way, we witness the hilarious chaos unfold as characters fall into lies and tricks.
The cast does a phenomenal job of having perfect precision, which is needed for the slapstick being the funniest aspect of the play. From being smacked over the head many, many times throughout a scene, to being caught in a pull out bed. The best part of the comedy in this play was the physicality and energy of the cast, sure the jokes make you laugh but in a scene where Sam, expertly played by Seán Carey, pretends to be Caprice Freeboys father, as he know virtually nothing about him we watch him take hints from Caprice as his character get more and more angered and over the top. Another actor who stood out was Jon Trenchard who played Warren Slax, who seemed to take pretty much all of the beatings throughout the show, however in his moment of fame, being suspended against a wall as if to appear that we were looking down on him, we watch as he struggles and fails to work his way around the gravity defying set. This scene had the whole entire audience laughing at the bizarre and funny play on gravity.
The stage was cleverly put together with items being used as weapons and disguises. With the play being so physical we needed a stage to meet the energy and character of the actors, and this is something that once again proves that Mischief Theatre can do, just like the production of The Play That Goes Wrong. Costumes are used well and the use of some characters pretending to be other character without trousers really makes the audience laugh.
It’s an incredibly fun and playful show, however it doesn’t lack the creativity and intelligence that goes into creating a slick and innovative performance. You will be laughing and amazed at how cleaver this show really is. The jokes are cheesy, the plot is crazy and the characters are hilarious, all the things that make a good comedy. It’s no surprise that Mischief Theatre have stolen the limelight for creating comedies that are legendary, just watch this show to see why.
Following the first ever UK & Ireland tour of Titanic The Musical in 2018, the productionwill return in 2019 for a European tour. After opening at the New Victoria Theatre, Woking on 11 July 2019, the production led by returning director Thom Southerland will tour across the continent until 1 September 2019.
In the final hour of 14th April 1912, the RMS Titanic, on her maiden voyage from Southampton to New York, collided with an iceberg and ‘the unsinkable ship’ slowly sank. It was one of the most tragic and infamous disasters of the 20th Century. 1517 men, women and children lost their lives.
Based on real people aboard the most legendary ship in the world, Maury Yeston and Peter Stone’s stunning musical focuses on their hopes and aspirations. Unaware of the fate that awaits them, the Third Class immigrants dream of a better life in America, the newly-enfranchised Second Class dream of achieving the lifestyles of the rich and famous, and the millionaire Barons of the First Class dream of their mastery lasting forever.
Having received its UK premiere in 2013 at Southwark Playhouse, the production returned to London in 2016 for an 11-week season at the Charing Cross Theatre, where it won overwhelming critical acclaim. It then embarked on its first ever UK & Ireland tour in April 2018 (during the 106th anniversary week), visiting the cities and communities whose forebears built, manned and sailed on the famous ship.
“It’s an evening both shattering and gorgeous…
The day after seeing it, I went back to see it again. It’s that good.”
★★★★★ The Times
Maury Yeston commented on the announcement of the international tour: “After such a wonderful UK and Ireland tour last year, I am delighted that the great ship is sailing again both in the UK and across Europe.”
Titanic The Musical has music and lyrics by Maury Yeston (Nine, Grand Hotel, Phantom) and a book by Peter Stone (Woman of the Year and 1776). The pair have collectively won, including their previous works, an Academy Award, an Emmy Award, an Olivier Award and three Tony Awards for their works. The original Broadway production of Titanic The Musical won five Tony Awards, including Best Musical, Best Score and Best Book.
Titanic The Musical is produced by Danielle Tarento, Steven M Levy and Vaughan Williams, in association with Mayflower Theatre, Southampton.
OPENS NEXT DOOR AT THE GIELGUD THEATRE FOR 16 WEEKS ONLY
CONTINUING THE SHOW’S RECORD-BREAKING RUN
IN A SPECTACULAR AND INTIMATE STAGING OF THE LEGENDARY CONCERT
MICHAEL BALL, ALFIE BOE, CARRIE HOPE FLETCHER, MATT LUCAS
LEAD A CAST AND ORCHESTRA OF OVER 65
THE NEW PRODUCTION RE-OPENS THE NEWLY REFURBISHED
QUEEN’S THEATRE IN DECEMBER 2019
Cameron Mackintosh today (6 February 2019) announces that for 16 weeks only Michael Ball(Javert), Alfie Boe (Jean Valjean), Carrie Hope Fletcher (Fantine) and Matt Lucas (Thénardier)will lead a large cast and orchestra of over sixty-five in the concert version of Les Misérables.Katy Secombe also joins to playMadame Thénardier and for three performances a week, the role of Jean Valjean will be played by John Owen-Jones. Further casting will be announced shortly.
This spectacular staging of the legendary concert, previously seen in London at the Royal Albert Hall and the O2 Arena, will run from 10 August – 30 November 2019 at the intimate Gielgud Theatrenext door to the current home of Les Misérables at the Queen’s Theatre. Public booking opens at 12noon (GMT) on Thursday 7 February 2019.
Cameron Mackintosh said: “The success of Les Misérablescontinues to amaze me and break new ground. Despite the fact the show continues to play to 95% capacity we have been obliged to close the production at the Queen’s Theatre for 16 weeks this Autumn to do much needed work. This includes restoring the ceiling plasterwork and the auditorium, adding many more lavatories, as well as carrying out major renovations backstage, which haven’t been touched since the 1940s. The theatre was heavily damaged during World War II and has never been properly restored and brought up to modern standards.”
“Les Misérables is the only musical ever that has been equally successful on stage, film, in concert and in the classroom. Its spectacular staged concerts are legendary successes, just as popular as the stage show. I am thrilled that the plan to keep Les Misérables running in London with a staged concert version on Shaftesbury Avenue during the enforced closure period has attracted such a stellar cast, with Michael Ball, Alfie Boe, Carrie Hope Fletcher, John Owen Jones, Matt Lucas and Katy Secombe, who all have a very close personal connection to the history of the show. Of course I am a bit miserable that Michael, the gorgeous young actor that created the student Marius in the original production, is now for the first time old enough to play the implacable inspector Javert, an amazing match for Alfie’s career defining portrayal of Jean Valjean.”
“I know fans are in for a unique and amazing experience from our huge Company who will be performing in the glorious intimate theatrical space of the Gielgud Theatre.”
Produced on stage by Mackintosh, Les Misérablesis the world’s longest running musical now in its 34th year in London. Its celebrated score includes the songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Produced on screen also by Mackintosh (along with Working Title and Universal), Les Misérablesis now the most successful movie of an ‘original’ stage musical.
The Original London production currently at the Queen’s Theatre (following runs at the Barbican and the Palace Theatre) will play until 13 July 2019 when the theatre will then close for four months of rebuilding work both backstage and in the auditorium as well as adding many much-needed new lavatories to the front of house. This work will also restore architect W.G. Sprague’s original boxes and loges which, along with the entire front of house, were destroyed by a bomb in 1940 and caused the theatre to be closed for 20 years. The restored Queen’s Theatre will reopen in December of 2019 with a new production of Les Misérables continuing its phenomenal run indefinitely, with a new West End company being put together now.
The new production of Les Misérables, with a separate company, is currently on arecord-breaking international tour, sold out a year in advance through to January 2020 which has now been extended to Autumn 2021. Box office for the additional dates will open shortly.
Cameron Mackintosh’s production of Les Misérablesis written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel with additional material by James Fenton and adaptation by Trevor Nunn and John Caird.
This National Theatre production of Macbeth is full of fetid air, ambition, madness, intrigue and self-preservation. The production is set in a world which can’t be too far away from ours in terms of years but this is a world full of chaos, where feral characters and gangs are clearly the norm. A world where life is cheap and the ability to align yourself to the right gang a necessity for survival.
The story of Macbeth (Michael Nardone) is of a man who meets some witches who make a prediction that he will be King, encouraged by his wife Lady Macbeth (Kirsty Besterman) he then kills the King and takes the throne. Anything then becomes necessary to him to hang on to his crown and rid himself of his enemies. However Macbeth and Lady Macbeth clearly retain some element of humanity as they sink into madness over what they have done.
I have seen several productions of Macbeth over the years, but this production is the one that makes it all make sense and indeed very plausible. The world of this production is so clearly one of survival of the fittest, a world with no room for sentimentality, a real dog eat dog world.
Rae Smith’s set is stunning, bleak but so atmospheric. The buildings reminding me of World War 2 pill boxes, but it is the little touches – belongings in plastic boxes and a generator that make this world real. Moritz Junge’s costumes are spot on, semi military, but clearly with an element of what could be scavenged to be worn. Lighting (Paul Pyant) and sound (Paul Arditti) complete this world, being particularly effective when the witches are on stage.
This is a talented cast working very effectively as a whole, handling the fights and the silences well. The Director Rufus Norris is not afraid to use silence and stillness in this piece, providing a contrast to the chaos.
Michael Nardone is excellent as Macbeth, portraying his doubts and ambitions beautifully. His “madness” when he sees the ghosts is never over the top, he has just the right touch. His tenderness when he holds his dead wife is breathtaking, equally when he shrugs her aside to get on with the battle.
Kirsty Besterman’s Lady Macbeth is ambitious and pushy and totally believable when she is persuading Macbeth to commit murder. Her descent into “madness” is stunning, no over the top hysteria, a beautifully judged performance.
The production begins with the witches on stage and what a way to begin. Elizabeth Chan, Hauk Pattison and Evelyn Roberts are wonderfully malignant witches, slinking and slithering around the stage, the stuff of utter nightmare.
There were inevitably a lot of school children there last night, but like the rest of us they were totally engrossed in the performance – this production should be required viewing for all those students studying the play.
Shakespeare may have written Macbeth hundreds of years ago but it still has resonance today, this production shows only too clearly a world that could occur very quickly if things break down and whilst there may be no murder, there is still plenty of “back stabbing” going on at the moment.
This is a production that needs to be seen, a classic and very unsettling production and one that I suspect will be talked about for years to come. “Macbeth doth murder sleep” – so very apt for this production.
Middle Ground Theatre Company return to Darlington with their latest offering of The Verdict, based on the book by Barry Reed. This version has been adapted for the stage by Margaret May Hobbs.
This is a show of two halves. The first half, which begins from the minute you enter the auditorium, sets the story. It’s a slow, laborious 70 minutes – which feels much longer. The second half, also 70 minutes is fast paced and slick and the time flies by so fast, with so much action.
In November 1976, Deborah Ann Doherty is admitted to hospital in labour with her third child. She suffered a cardiac arrest on the operating table during her cesarean and suffered severe brain damage. She is now in a permanent vegetative state in hospital. These are the facts of the case.
Frank Galvin (Ian Kelsey) is a down at heel Lawyer, an Ambulance chaser and a drunk. He has been engaged by Mrs McDaid (Anne Kavanagh) to get some justice for her daughter and her three grandchildren. In turning down an out of court settlement Galvin, takes on the might of the American Legal System, the Medical fraternity and the Catholic Church.
Frank’s mentor Moe Katz (Denis Lill) thinks Galvin should have taken the settlement but supports and helps the case when he sees Galvin is serious.
J. Edgar Concannon (Christopher Etteridge) is the defence lawyer, coaching the two doctors Daniel Crowley (Michael Lunney who also directs) and Rexford Towler (Paul Opacic). Concannon wears white suits, projecting an image of trust and honesty. Richard Walsh dual roles playing Judge Sweeney and Bishop Brophy.
Without giving too much away, the trial does lead to the verdict, after which the play is named. There are some twists and turns in the plot some of which you can see coming, others which are surprise. The second act, for me, contains the best of the show. The courtroom set is fabulous, the dialogue slick, the acting outstanding. It’s just a pity the first act fails to provide the interest of the second.
Union J star Jaymi Hensley dons the Dreamcoat in his first ever major musical UK Tour: February – July 2019
Bill Kenwright’s ‘Amazing’, ’Superb’, ‘Wonderful’ and ‘Brilliant’ production of Tim Rice and Andrew Lloyd Webber’s sparkling family musical embarks on a national tour with a new Joseph, from 20th February at Theatre Royal Windsor.
Jaymi Hensley, a member of 2013’s BBC ‘British Breakthrough Band’ of the year, will don the Technicolor Dreamcoat and lead the company in his first role in a major musical. Having risen to fame on The X Factor, Union J went on to have a top ten album and a major UK tour and Jaymi later appeared on a number of hit TV shows, including Celebrity Masterchef (BBC One).
Jaymi Hensley says I cannot describe how excited and honoured I am to be stepping into the prestigious coloured coat! When I think of iconic roles in musical theatre Joseph was always one that I dreamt of playing growing up! And to finally say that I am going to play it is a “dream” come true! I cannot wait to meet all of the loyal Joseph Fans and bring you my take of this amazing dream role.
Full of life and colour, the magical musical features unforgettable and timeless songs including Go, Go, Go Joseph, Any Dream Will Do, Jacob and Sons and Close Every Door To Me.
Retelling the Biblical story of Joseph, his eleven brothers and the coat of many colours, Joseph and the Amazing Technicolor Dreamcoat is the first of Tim Rice and Andrew Lloyd Webber’s musicals to be performed publicly. Seen by an estimated 26 million people, and counting, Joseph continues to enthral audiences around the world.
Park Theatre today announces their new theatre and artist development initiative, The Prism Project, which has been specially created to nurture BAME voices on stage, and provide a starting block which will help to disperse new stories. The project, spearheaded by Park Theatre’s Administrator Melissa Bonnelame, will encompass a series of rehearsed readings at Park Theatre that will offer BAME creatives free rehearsal space and a professional theatre in which to develop and showcase diverse stories. The initiative hopes to address the need within the theatre industry to provide support and professional opportunities for BAME creatives and their work.
Any artist who is Black, Asian or part of a minority ethnic group is eligible to apply for the scheme. The only requirement is that they are working on a script (either themselves or as part of a creative team) that could use the space for its development, and have a creative team available to work on their project.
For all successful applicants Park Theatre will provide:
A morning of rehearsal space in Park Theatre, free of charge
One of their two professional theatre spaces to perform a rehearsed reading, free of charge
A listing on The Prism Project webpage, as well as a select amount of organic social media support
Where appropriate, Park Theatre will invite a select number of guests to the reading with the rest of the seats to be filled by the successful applicants
Founder of The Prism Project, and Park Theatre’s administrator,Melissa Bonnelame said: “As a person of colour from North London who is aware of the variety of stories our wonderfully diverse city has to offer, it is really important to me that BAME creatives are given the chance to share their narratives and – most importantly – given the chance to speak for themselves. That is why I hope to see The Prism Project give creatives a platform to cultivate their voice, grow new ideas and reflect different voices within the community.”
Artistic Director Jez Bond said: “I am excited about the launch of The Prism Project for two reasons. Firstly, because it’s about using our resources to give a voice to traditionally more marginalised sectors of the community and, secondly, because it’s a programme led by our Administrator, allowing a member of staff to use a set of tools not normally deployed in their role and at the same time giving them ownership of a project close to their heart.”
The Prism Project’s first reading is a two-part series. Damsel in Distress? is an interactive play for those who know life won’t always be on easy mode, which is being directed by Tiwalade Ibirogba-Olulode who was the Assistant Director on The Other Place which performed in Park200 from September to October last year, and is being produced by Holly Adomah Thompson who completed a marketing internship with the venue in 2018.Set in Stains is a brand new play by Nuu Theatre in collaboration with writer Ruby Holder. Directed by Artistic Director, Ben Quashie, Set in Stains is a work in progress piece debuting the exciting work from this company of young theatre makers and writing talent.
The Prism Project is a rolling programme and is open to submissions throughout the year, subject to availability. There is no application deadline, and those interested in applying for the scheme can download the application form and submission details from Park Theatre’s website.
Mayflower Theatre Southampton – until Saturday 9th February 2019
Reviewed by Leanne Caplis
4****
Based on the best-selling novel and film Simon Friend, Amblin Partners and Josh Andrews bring to the stage The Girl on the Train. Starting its UK tour in Milton Keynes it will run in theatre’s around the UK until Saturday 13th July 2019.
Have you ever been so gripped by something that you have to remind yourself to breathe? Well this show does just that! Having read the book and watched the film it was hard to envisage how they could make such a fast moving storyline, with many flashbacks, fit the stage setting but Simon Friend and Josh Andrews (Directors) and their team did it perfectly.
Rachel Watson (Samantha Womak) a drunken divorcee has hit the bottle hard. After losing her job Rachel continues to ride the train daily to work where she becomes obsessed with the lives of others. Does her obsession go one step to far? Did she murder Megan Hipwell (Kirsty Oswald)?
An intense physiological thriller that had me gripped from the very first moment with Rachel being the stand out performer. It was mesmerising to watch a member of the cast remain on the stage throughout the whole performance whilst the set behind her changed seamlessly and simultaneously.
Rachel continues to get more involved in solving the disappearance of Megan and during her visits to the physiatrist Kamal Abdic (Naeem Hayat) the clever use of the staging to demonstrate the flashbacks makes them my favourite parts of the performance.
With a small cast I thought the venue would perhaps be too big. I was wrong! A pin drop could be heard whilst the story unfolded in front of our eyes and the tension could be felt everywhere. Some of the scenes made me forget I was in a room with hundreds of other people. I was on the edge of my seat wanting to help Rachel convince those around her that she was telling the truth; get them to listen and to stop her ex-husband Tom (Adam Jackson-Smith) manipulating her.
I can’t recommend this train journey enough and I’m sure you will come out agreeing with me it was worth the ride!
Playhouse Theatre, Edinburgh – until 9th of February 2019
Reviewed by Hannah Plumb
3***
Greenday’s American Idiot album was to many a soundtrack of their teenage years. When the 2004 pop-punk concept album first became a musical it was a triumph that twice extended it’s run. The album was about escaping suburbia and rebelling against the propaganda of a post 9/11 America. It discussed the feelings of a disillusioned youth that is still as relevant today as when it was first written. Ten years after the initial run American Idiot returns to stages for its 10th Anniversary UK Tour.
The story follows three young male protagonists Johnny (Tom Miller), Tunny (Joshua Dowen) and Will (Samuel Pope) as they attempt to escape the monotony of suburbia for the excitement of the city. Longing to rebel against the hypocrisy of modern America and the death of the America dream the three heroes must tackle war, addiction, and love in order to understand where their place is in this new world. Miller as Johnny embodies the flawed tortured rebel that would make every young punk swoon. However, his portrayal of a young man struggling with addiction is rooted in a dark reality and is a hauntingly brilliant performance.
The production mixes a live rock band with actor-musicians which give the musical the electricity of a pop-punk concert. The band rock out at the top of the Sara Perks fantastic set, which provides an epic backdrop for the chaos of the characters journeys, visually it is very cool. Miller, Dowen, and Pope lead the cast with strong and rocky vocals that really reflect the soul of the original Greenday trio. The vocals throughout the whole show are what carries the story and make it a truly worthwhile experience. A special nod to Raquel Jones who’s portrayal of Extraordinary Girl is not one to be missed, her powerful voice is a beautiful contrast to the heavy drums and electric guitar. Her performance with Dowen of the song Extraordinary Girl is a powerful moment which elevates the rock opera to another level.
Although the performances are all incredibly strong the plot of American Idiot is somewhat disjointed and I believe it would be hard to follow if you were not already a fan of the music. My biggest issue with the musical was the sheer amount of talented female performers who were wasted in a musical that uses women to complete a male story arc and very little else. The female characters have very little meaning other than to either bolster or conflict the three leading males.
That being said if you’re a fan of Green Day, a talented young cast and exceptional vocals, American Idiot at the Edinburgh Playhouse Theatre will transport you back to the days where we all wanted an outrageous fringe and for our parents to get out of our rooms.
A smoothly presented production with Doyle’s usual intricacies that only Sherlock Holmes unique talent can figure out. Set in India and London, the creative team have to be commended on an unusual set that gives the atmosphere of both places, strongly supported by a skilled musical score. The interchange of actor musicians flows beautifully. Composer Tristan Parkes and Director Nick Lane have a synergy that creates a well accomplished piece.
Luke Barton (Sherlock Holmes) captures the quirky, dynamic energy of Holmes, keeping the audience engaged throughout. Joseph Derrington (Dr John Watson) is a believable, likable character, reflecting the exasperation of their relationship. Stephanie Rutherford manages to play three very different roles (Mary Morstan, Mrs Hudson, Mrs Smith) with three accents and is part of the musical ensemble as well, all with energy and enthusiasm, bringing some humour to the piece. Also brought in by Christopher Glover as Detective Athelney-Jones, portrayed as Sherlock Holmes perceives him; a policeman plod. This is in direct contrast to Glover’s Dost Akbar, who gives a warmth and an air of calm confidence. Ru Hamilton is clearly an accomplished musician, playing several instruments and several parts (Thaddeus Sholto, Major Sholto, Sherman) seemingly without breaking a sweat. My favourite performance of the night comes from Zach Lee (Jonathan Small, Captain Morstan, McMurdo), offering emotional intelligence that is perceptible to the audience.
Nick Lane has adapted The Sign of Four well to the stage, managing to cover all the intricacies of the characters and plot by including an element of narration in some of the characters. I think Sir Arthur would have enjoyed seeing his work come to life.
