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Darlington Hippodrome – until 6 January 2019

5*****

Pantomime has a reputation for being cheesy and chaotic family entertainment and Aladdin at Darlington is just that.  I don’t want my panto to be perfect and this offering from QDOS Entertainment is perfectly imperfect from start to finish.

With many of the songs specially set in Darlington (the Petula Clark classic changes from Downtown to In Darlo) and many mentions of the area this is a very local affair, even if it is set in old Peking!

Eric Potts directs as well as starring as Widow Twankey, the mother of Aladdin (Carl Douglas) and Wishee Washee (Liam Mellor).  The comedic interaction between Potts and Mellor is fantastic and the scene about a “Short Sleeve Shirt Shortage” involving Potts, Mellor and The Spirit of the Ring (Louie Spence) was side splittingly hysterical, while you waited to see if there would be mistake.  Spence has a self-deprecating sense of humour and knew he was going to go wrong which caused a lot of ad libbing and corpsing all round. Of course with Louie Spence we also got lots of amazing dance moves and some shocking innuendos – hilarious for the adults and innocent for the children

Robin Askwith stomped around the stage dressed like a reject from the Matrix, sticking out his tongue and evil enough to get booed by the audience.  Musical theatre star Rachel Izen was funny as Empress Ming who got her words mixed up.

Darling of Darlington, Zoe Birkett was phenomenal as the fearless Princess Jasmine – no helpless heroine here, when Aladdin was knocked unconscious it was Jasmine who saved the day with a sword fight.  I loved that it showed future generations that sisters can do it for themselves.

With some excellent costumes, incredible special effects courtesy of The Twins FX; subtle but effective pyrotechnics by Le Maitre and fabulous music from the live band (Chris Pugh, Peter Brent, Sophie Hastings) this is a pantomime as magical as the impressive flying carpet.

For the best pantomime I have seen in a long time, get yourself along to Darlington Hippodrome but not until I’ve managed to sort myself a ticket to see this outstanding production again!

Menier Chocolate Factory – until 9th March

Reviewed by Claire Roderick

5*****

If I were a rich man… I would buy a ticket for every week of Fiddler on the Roof’s London run. Trevor Nunn has created a production that follows tradition but still feels very modern.

The intimate space of the Menier is ideal for staging the claustrophobia of shtetl life. Robert Jones’ set is sublime – a rickety and ramshackle row of wooden houses with an intricate series of doors for the inhabitants to appear through. Using just planks and crates, the cast set up different sites in the shtetl that are instantly recognisable.

Fiddler on the Roof is one of those musicals that even people who hate musical theatre can hum at least one tune from, and Jerry Boch and Sheldon Harnick’s music and lyrics just sweep you away from the moment the fiddler puts his bow to the strings. Joseph Stein’s book becomes a little episodic, but that is completely forgivable to reach the show’s lowkey ending. The story of Tevye, the poor dairyman, struggling to marry off his five daughters and the whole community clinging to tradition as a shield against the rapidly changing world is full of humour and emotion; and in the hands of this incredible cast, every word is heartfelt without being corny.

Andy Nyman is a phenomenal Tevye – capturing the frustration, sadness and love of the character in a multi-layered performance that will just blow you away. He is well matched by Judy Kuhn as Golde his long-suffering wife and their scenes together are extraordinary, conveying so much emotion effortlessly, and making familiar songs seem fresh and new. Molly Osborne, Harriet Bunton and Kirsty MacLaren give each of the tentatively rebellious daughters a beautifully subtle strength and Joshua Gannon, Stewart Clarke and Matt Corner are quirky and charming as their imperfect suitors. The whole cast is sublime, with tight vocals and excelling in Matt Cole’s choreography. The production keeps Jerome Robbins’ choreography for the raucous celebrations of To Life and The Wedding/Bottle Dance, with Matt Corner, James Hameed, Miles Barrow, Matthew Hawksley and Adam Margilewski bringing the house down with their insane dancing.

If you’re looking for a production that can pull your heartstrings but keep you laughing out loud and tapping your feet to its irresistible rhythms, then Fiddler on the Roof is the one to see. Simply glorious.

Park Theatre – until 5th January

Reviewed by Claire Roderick

5*****

Park Theatre’s production of J.M. Barrie’s Peter Pan is everything your family needs this Christmas – innocent, charming fun that sparks the imagination of all ages.

The story of Wendy, Michael and John Darling flying away with Peter Pan to Neverland and finding mermaids, Tiger Lily and her tribe, pirates and THAT crocodile is a firm family favourite. The joy of childhood innocence and the celebration of imagination and fantasy in Barrie’s play is embraced wholeheartedly by director Jonathan O’Boyle and designer Gregor Donnelly. The stage never fully transforms from the Darling’s bedroom – the wooden floors are never disguised, and the dresser and the dresser and chest are never removed. Instead Nic Farman’s lighting picks up glowing strange luminescent formations and creepers/stalactites under UV to denote the lagoon, and the tiniest of ship’s wheels appears as a Jolly Roger is hoisted to let everyone know that we are now on the pirate ship. Even Nana seems to be conjured up from a pile of Autumn leaves by the children’s imagination. It’s one of the most sophisticated game of Let’s Pretend you’ll ever see. Yes, the flying is determinedly old school, but that is all part of the charm.

Although O’Boyle sticks closely to the original text, there are some delightful modern touches that fit seamlessly into the play. Mr Darling pulls out his mobile phone, modern slang pops up to great effect, and the boardgame Guess Who? Keeps getting pulled off the dresser shelf. Most of the props are items any child could find around their house, and the Lost Boys eating an imaginary meal with the Darlings is pitched perfectly. There are no real weapons, making the climactic fight between Hook and Peter a nugget of comedy gold that is instantly recognisable to any parents.

The talented cast of adults capture the leaps of imagination of the children they portray wonderfully, without any patronising or knowing glances. In modern dress, with lovely nods to the narrative – especially John and Michael’s pyjamas, this doesn’t look like a traditional production. In fact, it is Peter who is the “captain” of the Lost Boys in a green dress uniform jacket (with green Converse), while Hook is more like a demonic fisherman in black oilskins. Nickcolia King-N’da is full of cocky confidence as Peter, and Alexander Vlahos is phenomenal as Hook. This Welsh pirate rolls his R’s like Richard Burton on crack, and channels Victor Spinetti at his OTT best, with a delicious touch of Gloria Swanson, in a performance that paints a character who is dark and bonkers enough to be a threat, but supremely silly and useless enough to be a joke. The perfect villain for any brave and clever child to defeat.

Barrie’s mourning of the loss of innocence is captured beautifully in the performances of Rosemary Boyle and Natalie Grady as Wendy and Mrs Darling as they provide care, stability and a touch of common sense for the reckless male characters who throw themselves into danger without a care, and Peter’s choice at the end of the play is handled without sentimentality by King N’da and Boyle.

The joy of this show is sharing the thrill of fantasy with the actors and the children in the audience. There is so much in the production for adults to enjoy, but hearing a little, uninhibited voice shouting out to the characters on stage to help or warn them both warms your heart and fills you with regret that adults aren’t supposed to do that. But, of course, every adult in the theatre claps like a demented seal to save Tink!

Second star to the right, and straight up the Victoria line for a magical feast of fantasy that will thrill the whole family.

tiata fahodzi and Tara Finney Productions in association with Watford Palace Theatre present
good dog by Arinzé Kene
UK Tour: January – March 2019
Press night: Friday 1st February, Watford Palace Theatre

Kwaku Mills (End of Eddy, UK Tour; Urban Myths: The Trial of Joan Collins, Sky Atlantic) has been cast in this exciting revival of Arinzé Kene’s good dog – he will bring to life this true epic, retelling the stories of multiple characters, families and years. Directed by tiata fahodzi’s Artistic Director Natalie Ibu, good dog will open at Watford Palace Theatre before touring to venues including Sheffield Theatres, Northern Stage, Stephen Joseph Theatre, Birmingham REP, North Wall Arts Centre and Salisbury Playhouse.

Mum’s promised him that bike so even when school or homelife bites, he knows to keep his chin up, his head down and his shirt clean. No harsh word, no sudden push to the ground will distract him from growing up to be a good man. Because in the end, everyone who’s good gets what they deserve. Don’t they?

Set during the early noughties, good dog tells the story of growing up in a multi-cultural community, and the everyday injustices that drive people to take back control. When prejudiced voices are amplified, the arts must remind us of the humans obscured within the propaganda storm.

The inspiration for Kene’s delicately observed and fearlessly-told play stemmed from a desire to imagine what drove his friends and community to riot in the summer of 2011 – in London and beyond – but it has become a chronicle of a community struggling to survive and fighting back.

Kwaku Mills comments, I’m beyond excited to be joining good dog. I’ve admired Arinze‘s work for a while now, so it’s a real honour to get to perform his words. It’s such a vibrant, intelligent urgent play, and a gift of a character to work on. It’ll be my first time performing at all the venues on the tour so I look forward to getting the show on the road along with Natalie and the rest of the team!

Commenting on reviving good dog for 2019, Natalie Ibu says, It’s a real thrill to be able to bring back Arinzé’s play – an astonishing love letter to the people and places that leave their mark on your life – and tour it to more places, meeting more people. In the wake of the Brexit vote, it was a troubling thesis about what happens when you are unseen and unheard, and this only gets louder as time goes on. At tiata fahodzi we pride ourselves in seeking out stories that see those who sit outside the singular narrative. We refuse to oversimplify the African diaspora and, instead, relish the complexity. We want to multiply the narratives – about ourselves and each other – and debate the mixed experience of Britain today and tomorrow.

The 2019 national tour of good dog is supported by Arts Council England.

King’s Theatre, Edinburgh – Until 20^th January

Reviewed by James Knight

4****

There’s lights, massive costumes, colourful sets and laughs galore. Get ready folks, panto season is in full swing.

And it’s a tale as old as time at the King’s this year, as Beauty and the Beast gets the panto treatment. We all know the story by now – a prince is cursed to live out his days as a hideous beast unless he learns to love and that love is returned. Chris Cowley is on great form as the Beast, as is Gillian Parkhouse as Belle, the young woman from the village who captures his heart.

But as much work as they put in, it’s really Allan Stewart as Mrs Potty and Grant Stott as Flash Boaby that steal the show. Missing the third member of their usual comedy trio, Andy Gray, who’s taken leave of this year’s panto due to illness, Stewart and Stott gamely carry on. And carry on they do. The jokes fire across the stage like the many pyros, barbs are traded with the audience, and audience plants are used to great effect (this contributed to possibly one of my most favourite gags that I’ve ever seen in a panto, or any show, but to spoil it ruin the surprise – let’s just say it happens during the traditional ‘cloot’ segment). And of course, no panto would be complete without a little bit of improvisation (Flash Boaby noted after Mrs Potty made fun of his singing that he was getting brave on only ‘day five’), or a few mistakes here and there (a missing trumpet as part of a running gag, a couple of accidents when talking about Shirley Shaw sitting and shining shoes – what’s the bets there’s a tally in the green room for whoever mucks up the worst?), which of course only adds to the hilarity.

The emphasis on the gags, as is typical with most big budget pantos, tends to mean that story only occasionally makes an appearance, and because everyone knows the story, sometimes this can be treated as ‘the plot sections need something flashy to keep the audience interested’, which in in turn leads to some rather odd moments. For example, Belle asks Beast to dance, cue Ed Sheeran’s ‘Thinking Out Loud’, which they then sing to each other, centre stage, while the ensemble does the actual dancing so the audience can admire the extravagant costumes everyone’s wearing.

Overall though, it’s a great night out, and only the most beastly of people would leave without a smile on their faces.

Salisbury Playhouse – until Sunday 13th January 2019

Reviewed by Leanne Caplis

5*****(and more)

Wiltshire Creative brings to the stage the timeless love story that is Beauty and the Beast.

The pantomime links to the iconic fairy tale classic but writer, Andrew Pollard’s adaption is that of three love stories; Amorette (Liberty Buckland) is imprisoned by the Beast (Joseph Black). Will love blossom and the beast turn back into a Prince before the final rose petal falls? Souffle (Nerine Skinner) is Amorette’s chavtastic sister who, apparently knowing all there is about men, is still to find true love. Will her encounters with Cupid (Alex Wadham) help him lose his Cupid wings and both find their happily ever after? The final story is that of Dame Betty Bon Bon (Richard Ede) and Monsieur Marzipan. Will Betty’s sweetie delights entice the sugar making Marzipan into her arms? All will be revealed….

Upon entering the house the bright, colourful and glitter-tastic stage immediately stands out and this excellence is maintained throughout. The use of lighting, sounds and special effects are magnificent and all the costumes are marvellous, especially those of Betty Bon Bon. More associated with a West End production, the creative and production teams deserve a special mention.

The first half of the show was outstanding; the acting, singing, humour (both adult and child appropriate) audience participation and up to date links with modern day were spot on! The clever use of well-known songs and TV programmes saw the audience being able to relate well to the developing storyline. It’s not every day you see a cream pie fight using Ramsey’s Kitchen Nightmare sketches or the Baby Shark song used in a pantomime, but it worked remarkably well.

I thought the show, at almost three hours with the interval, was slightly too long. The first half went in a flash however there were moments of the second half that could have been shortened. I’d have liked to see more of the Beast but these were very small negatives that I found difficult to pin-point.

Although unable to pick one stand out star for this show, the two worthy of mention are Dame Betty Bon Bon and Souffle. The Dame was hilarious and had the audience eating out of the palm of her hand and Souffle’s acting was impeccable with her dabbing, hash tagging and flossing all adding to her performance.

For those who think pantomime is just for kids – I challenge you to think again! I smiled from start to finish, found myself shouting out ‘Hello Betty Bon Bon’, ‘he’s behind you’ and singing along to the Christmas songs in the interval.

This show is a delight, a first-class production that will put you firmly in the Christmas mood from the very first moment. Do you want to miss this show?…….. “oooooooooooooo noooooo you don’t!”

Montgomery Theatre, Sheffield – until 9 December

Reviewed by Lottie Davis-Browne

4****

Following the recent announcement that Joseph and the Amazing Technicolor Dreamcoat will be making a return to London’s West End in the New Year, last night I decided to try and rekindle my love for the musical which first ignited my passion for all things theatre, with local Sheffield based Southey Musical Theatre Company performing the show at the city centres Montgomery Theatre until 9th December.

Back in 1991, as a ten year old I worshipped my Jason Donovan posters and watched television clips of his performance as the leading role, wishing I could have been one of the children in the chorus just to see him up close! It wasn’t until the “Any Dream Will Do” television competition in 2007 to find an unknown performer the role for a return to the West End that I first got to see a professional production of the musical. By this point I had seen several amateur productions and always thoroughly enjoyed them, however the 2007 production for me felt embarrassingly cheesy – to the point I wanted my theatre seat to swallow me up and could not wait for it to be over. I really lost interest in it as a musical so was obviously feeling somewhat anxious last night……

However once I had taken my seat and the band started playing a medley of the songs I soon filled with excitement, taking in the stage in front of me. A single bed with a technicolored duvet cover on and a teddy bear on and a dress makers dummy proudly displaying the intricate splendour that is Joseph’s coat, and after the band had got the audience raring for the story to start (because who doesn’t know every lyric to every song in the musical – I’ve had these memorised for over three decades myself after all!), the Narrator enters the stage with a young boy in pyjamas, and begins (in song, of course!) to tell him the story of a boy named Joseph, and encourage him to “think it, want it, dream it” as she continues to tell the story of a boy “who’s dreams came true”. The story is based on the story of Joseph, as told in the Bible in the book of Genesis. Born the son of Jacob – Joseph is one of twelve sons, (“Jacob and Sons”) but when he is gifted a luxurious coat featuring every colour of the rainbow and more, his brothers become jealous, especially when the coat helps Joseph visualise and share his dreams coming true with his brothers, so much so that they attempt fratricide to get rid of him, however the brothers have a sudden change of plan when they spot the opportunity to sell him as a slave to some passing Ishmaelite’s (“Poor, Poor Joseph”) (Ishmaelite’s are the descendants of Ishmael, the elder son of Abraham and the descendants of the twelve sons and princes of Ishmael FYI.)

I particularly loved how the Director (Adam Walker) had put his own stamp on this production – from little details that make this production memorable (for all the right reasons) from the Narrator taking a “selfie” on a mobile phone with the Jacob and his children at the end of “Jacob and Sons”, the 70s disco twist to Act One finale “Go, Go, Go, Jospeh” – proving that it wasn’t just Joseph and his coat that were “ahead of their time” but the biblical story had a “futuristic” 70s vibe to it! (A homage to the decade when Andrew Lloyd Webber and Tim Rice first wrote the musical) but what really knocked my socks off in this production was the choreography (Amber Parry) – particularly the wives cartwheeling effortlessly across the stage. The young choir provided perfect harmonies and accompaniment throughout and I loved the fact that they were placed to one side of the stage throughout the story, sat on a technicolored row of seats. I would have liked to have seen the youngsters in the choir be given the opportunity to engage more on stage – particularly at the end for the Joseph Megamix – surely there’s some talented dancers amongst them that could give the wives a run for their money by performing some somersaults and cartwheels etc?

Vocally Lee McCusker was utterly flawless in the title role as Joseph, and visually it was clear to see why the many wives and Potiphar’s wife flocked round him like they did! Lee engaged well with the young children in the choir (“Any Dream Will Do”) and equally both McCusker and Robert Curr (Jacob) gave a heartwarming performance as Father and favourite son; their reunion at the end of story.

Heather Reynolds was everything you’d expect from the Narrator character – engaged well with the children, the audience and Joseph and his brothers, had an instantly likeable feel to her (the same instant likability as characters such as Miss Honey in Matilda for example), however vocally at times it was clear Reynolds was struggling with the vocally demanding role and her voice lacked the maturity usually found within this character. At times lines were sung slightly off key and her voice had a nervous wobble to it, and where hard to reach notes were needed, such as when Joseph is thrown down a well during his brothers disposing of him, instead of singing the notes needed, a scream was added instead – using a snake coming out of the well to scare her into the scream. It wasn’t always that noticeable and there were times I found her vocals to be soothing and somewhat hypnotic, as if I was being sung a bed time story, but where other lead characters delivered a flawless and continuous high level of accuracy and competence, I sadly did not always get this from Heather. It may indeed have been a case of first night jitters, but when some of the “wives” delivered flawlessly sung vocal lines with far more mature and competent voices, I felt somewhat deflated over this particular role compared to the others. Whilst Reynolds clearly shows great potential, this is a highly demanding role which barely allows the performer to draw a breath and I felt that on this occasion more vocal training was needed which in turn brings with it added confidence.

Another knock out performer of the night was Jon Warburton – (the best thing since sliced bread in my opinion!) as Pharaoh – another reason why I loved Adam Walker’s direction on this production – yes we KNOW Pharaoh was a King but what I have despised in previous productions of this show is how they base the character on Elvis “The King” Presley – grrr – number one – I cannot stand Elvis – there – I said it! And number two – I don’t feel it’s relevance in a biblical story. Thank goodness Adam had seen sense and chosen not to go down this route in his portrayal of the character (performed by Warburton). Vocally he sounded like a King and was a huge hit with the ladies (myself included!), his hip thrusting attracting the attention of the wives and the audience members alike. Just a shame he wasn’t on stage for the entire night…!

There was no cringeworthy cheesy feel to this production; it felt fresh and new, as if I was experiencing the songs for the first time. It reminded me of why I loved the musical so much the first time I heard it and rather than wanting to crawl under my seat with how the last (professional) production made me feel, instead I was tapping my toes along the entire time and joining in when encouraged to do so at the end by the cast. Overall a joyful and colourful performance, restoring my faith in this classic family-friendly musical. I just hope the next West End run is as pleasurable to watch as this….maybe their Director needs to buy a return ticket to Sheffield to see how Joseph should be done!

Playing until Saturday 9th December, tickets are selling fast so be quick to secure your tickets – the perfect feel good factor to start the festive season off with a bang.

DEAFINITELY THEATRE ANNOUNCES

THE HUB’S SPRING AND SUMMER ACTING WORKSHOPS

Deafinitely Theatre today announces the Spring and Summer 2019 acting workshops for their theatre training course for deaf artists, The Hub. The workshops include Visual Vernacular, Comedy, Movement and Stage Combat and aim to equip participants for mainstream arts employment through structured, accessible and professional theatre training.

Launched in September 2018, The Hub is a year-long programme, which has been developed and expanded from a previous pilot scheme. Alongside acting The Hub offers participants playwriting workshops, which aim to develop and explore writing for live performance and Industry Insight workshops which focusses on areas of theatre practise, including stage management and theatre design. The Hub also provides a mentorship scheme lasting 12 months for two mentees. Each mentee will receive a bursary and have a brief to design and complete a set task with ongoing support from their mentor. Throughout the course of the year, the Hub will facilitate four networking events where Hub participants can present their ideas and share their CVs with industry professionals. Interpreter and caption support is offered across the whole programme.

In addition to The Hub, Deafinitely Theatre continues its long-term commitment to supporting deaf artists across the industry, inviting participants to apply for paid internships and acting roles with the company.

Visual Vernacular

Wednesdays, 27 February – 20 March 2019

This session, run by actor and director Adam Bassett, focusses on theatrical art as a form of physical expression. Participants will learn how stories can be told through body movements, iconic signs, gestures and facial expressions. Visual-manual language employs cinematic techniques in a four-dimensional environment: cuts, angles, and zooms, etc.  These devices are commonly and richly used in storytelling and poetry. Just as imagery is used in poetry and novels, visual-manual language takes the opportunity of manipulating imagery in four-dimensional space and time. 

Comedy

Wednesdays, 1 May – 15 May 2019

The workshop will look at comedy and what makes us laugh, it will be run by deaf actor and director, Caroline Parker who specialises in physical comedy and comedy without words. 

Movement

Wednesdays, 22 May – 12 June 2019

Through a mixture of improvisation and play this workshop focuses on the expansion of both physical awareness and awareness of the body in space. This will grant the actor choice with their movement so that their body can easily, with truth, fulfil each character played through the ability to work in different performances styles.

The workshop will be run by Angela Gasparetto a freelance movement director, director and teacher at the Royal Academy of Dramatic Art

Stage Combat

Wednesdays, 19 June – 26 June 2019

During this course participants will learn the principles of stage fighting – the reactions and carefully choreographed moment that portrays spontaneous fight scenes on stage and screen.

The workshop will be run by Philip d’Orléans a Master Teacher with the British Academy of Stage and Screen Combat and stage combat teacher at RADA.

Participants can book via the Hub Acting pages on the Deafinitely Theatre website. www.deafinitelytheatre.co.uk

THEATRE COMPANY USES NEW INTERVIEW PROCESSES TO EMPLOY LEARNING DISABLED CREATIVES

Bradford-based Mind the Gap is one of Europe’s largest learning disability theatre companies. They are currently celebrating 30 years of championing learning disability arts and this year launchedStaging Change, a new project that focuses on getting people with learning disabilities employed in the arts.

Working with five partner venues, including Leeds Playhouse and Square Chapel Arts Centre in Halifax, Staging Change looks at creating opportunities, the challenges of accessibility, representation and the curation of work.

As part of the project, Mind the Gap has employed four interns, each with a learning disability, to work on a new outdoor project for 2019 ‘ZARA’.

The roles of the interns are Assistant Producer, Assistant Director, Researcher and Creative Engagement Facilitator.

Deborah Dickinson, Associate Producer at Mind the Gap, explains:

“Mind the Gap has always created work with learning disabled artists – not just for them; it’s where we differ from many others. We strive to ensure it is their voice that is heard and their stories that are told, so having people with learning disabilities on the production team is hugely important to this new project.”

While Mind the Gap has previously provided paid supported employment for performers, this is the first time the company has employed learning disabled workers in wider roles.

“Ensuring that people with learning disabilities can work without risk of losing longer term benefits that are essential to their welfare and financial security is complex,” continues Deborah.

“Each intern has a specially tailored package based on their individual circumstances and needs.”

To ensure the application and interview processes were fully accessible, Mind the Gap worked in partnership with external consultant Vicky Ackroyd from Totally Inclusive People, a company that offers consultation, interactive disability awareness and equality training around Yorkshire. 

“We have learned so much throughout this process – even with our 30 years of experience we accept that we are not always perfect; for example, we can use a lot of theatre jargon that is confusing to anyone outside the industry, and for people with learning disabilities it can be off-putting, meaning they can’t get past the first stage.”

Paul Wilshaw was successful in securing the role of Assistant Producer:

“I have worked in theatre for 20 years as an artist, facilitator and producer. I’ve been lucky enough to secure funding and grants to be able to make work, but it’s not easy for people with learning disabilities. The work Mind the Gap do challenges this and I’m delighted to be working with the team on this exciting project, and hopefully more in the future.”

Mind the Gap is now collaborating with six venues around the country to help them work with learning disabled artists, audiences, and creatives.

“As a direct result of working with us, Leeds Playhouse has adapted its audition process for learning disabled artists,” says Deborah.

“And we are delighted that one of our own resident artists had a successful audition has secured a role in their production of ‘Be My Baby’ next year.”

Jordan Freud is the Assistant Director on ZARA, he is an emerging director-dramaturg and an aspiring Artistic Director.

“Since my diagnosis with Asperger’s Syndrome aged eight my dream has been to tell stories that shouldn’t, or wouldn’t, otherwise be told – to break taboos,” he explains.

“I’m excited by ‘ZARA’ as it tells the story of learning disabled parenthood; I’m particularly looking forward to assisting in the devising process with writers and actors to develop our innovative mix of film with live, outdoors performance.”

ZARA will incorporate live streaming, live performance from a cast of hundreds, large-scale puppeteering and a giant ‘baby’.  A huge-impact piece of outdoor theatre that has been five years in the making it is bringing together an international team of directors, choreographers, producers, designers, technicians, puppeteers, musicians and actors.

Deborah concludes: “We want to see people with learning disabilities represented in decision-making roles backstage and on stage. We want people with learning disabilities to know that they too can apply for the jobs that interest them and we are working with venues up and down the country to achieve these objectives. We are staging the change.”

Staging Change is a new leadership programme, made possible through Mind the Gap’s Arts Council England NPO funding and Esmee Fairbairn Foundation, based around dynamic three-way partnerships between Mind the Gap, arts venues and learning disabled artists. Staging Change aims to increase the visibility of learning disabled artists in the wider arts sector and offer skills development and advocacy opportunities for learning disabled people.

To find out more about Staging Change and Mind the Gap’s work visit

www.mind-the-gap.org.uk

[email protected] /  01274 487390

Leeds City Varieties Music Hall- until 13 January 2019

Reviewed by Sally Richmond

5*****

Cinderella – The Rock ‘n’ Roll Panto is a high-spirited, fun-packed family show that could not fail to break even the meanest of baddies into spontaneous belly laughs.

Leeds City Varieties’ famous pantomime presents Cinderella over this Christmas and New Year season and as always, it’s first class because: it’s performed by multi-talented musicians and actors, filled with a slap-stick hilarious comedy, has amazing rock ‘n’ rolls numbers played by a live band, audience participation moments that leave the kids wanting more (the boulder battle returns!) and a happy ending of course!

The Leeds City Varieties Music Hall is a beautiful Grade II* listed music hall and has a special place in the hearts of the people from Leeds and West Yorkshire, making it the perfect venue for a traditional, family pantomime to be performed.

This year’s fantastic cast of lovable characters are: Cinders aka Princess Stella from Harrogate (Grace Lancaster), Prince Charming (Alex Wingfield), Dandini – Leed’s very own rock star (Tom Connor), an evil, gold-digging step-mother (Katia Sartini), an old fool Baron Hardup (Dyfrig Morris), Scott Haining and Matthew James Hinchliffe’s ugly sisters, Hernia and Verruca De Zees, a young fool Buttons (Kenny Davies), the Fairy Godmother (Rachel Nottingham) and the quirky Messenger (Leo Elso).

Cinderella – The Rock ‘n’ Roll Panto has all the wonderful elements of a traditional pantomime but with the added extras of having an amazing ensemble of actor-musicians, who perform classic hit songs faultlessly, live on stage. As always this Leeds panto is all about the classic tunes (20 in total – musically directed by Greg Palmer), which are smartly woven into the traditional Cinderella fairytale story and include: The Weather Girls’ It’s Raining Men, Dusty’s Downtown, The Black Eyed Peas’ I Gotta Feeling to mention but a few.

Everyone including the audience, gives it their all, and this high paced show races along, powered by Baron Hardup’s and Rubella De Zees funny, ill fated romance and the grotesque, ugly sisters side-splitting shtick. Cinderella and Prince charming are beautifully played and their tender love story has heart-warming moments. Poor old unlucky- in -love Buttons interacts with the audience as well as belting out popular songs that are note perfect.

By the closing number, the whole audience were on their feet dancing, clapping and signing their hearts out to what was a brilliant all-round panto. This pantomime has the maximum feel-good factor and is perfect to get one, even Scrooge, in a Christmassy or New Year party mood. You get a double for your money at the Leeds legendary Rock ‘n’ Roll panto – as you get to see a pop rock show and a pantomime all in one! A total treat, not to be missed!