LAST ORDERS Old Red Lion Theatre, October 8th – 26th, 7.30pm Ghost Hunt Date: July 29th, 7.30pm Seance Date: August 29th, 8.30pm
Since 1415 the Old Red Lion has welcomed countless visitors through its doors. And some never left. So new company The Knock Knock Club will stay overnight, turn on their cameras, point their microphones into the dark and ask “who’s there?” In Last Orders they will present their findings – from the uncanny to the unnatural to the unexplainable – as more than 600 years of history clamours to be heard.
A pub called The Old Red Lion has stood on the same spot in Angel since 1414, and The Knock Knock Club have done extensive research into its history at The British Library newspaper archives, using local papers such as The Islington Gazette. The pub has seen highwaymen drinking their last pints before being executed at a crossroads, children of the school next door coming in with their daily beer tokens, and Lenin evading police by hiding in a dumb waiter.
It is not just the history the company want to know about, but the ghosts that live on insides it walls. They have interviewed the staff, past and present, and they haven’t met one yet that hasn’t had an unexplainable experience. They say there is a ghost on each floor: the cellar, the pub and the theatre, and they are going on an over night ghost hunt with Laura Goff from Twilight Ghost Hunts to see if they can meet them themselves on July 29th. They will also hold a séance at the theatre on August 29th, to further investigate these claims.
The Knock Knock Club are a new company who make the venue they are performing in the star of the show, specifically venues which are reportedly haunted. Researching their history and folklore. they create terrifying and true theatre. Reece Connolly is a playwright and theatre-maker of over 5 years, most recently with Offie-nominated, five star CHUTNEY at The Bunker, produced by Flux Theatre. Caroline Buckley is a writer and producer, she runs Plays Rough London as a platform for new, experimental writing in a safe and supportive space. Christopher Keegan has worked as a professional actor for ten years performing with many companies including West Yorkshire Playhouse, Bath Theatre Royal, The Glasgow Citizens theatre, Bristol Old Vic, Shakespeares Globe, Warner Brothers and more.
FOR DISNEY THEATRICAL PRODUCTIONS AND CAMERON MACKINTOSH’S
NEW PRODUCTION OF
M A R Y P O P P I N S
OPENING AT PRINCE EDWARD THEATRE OCTOBER 2019
Cameron Mackintosh and Disney Theatrical Productions are delighted to announce final adult casting for the new production of Mary Poppins which begins rehearsals in September and returns to its original West End home at the Prince Edward Theatre from 23 October 2019.
Joining Zizi Strallen in the title role, Charlie Stemp as Bert, Joseph Millson as George Banks and Petula Clark as the Bird Woman, are Amy Griffiths who will play Winifred Banks, Claire Moore as Miss Andrew, Claire Machin as Mrs Brill, Jack North as Robertson Ay and Barry James as Bank Chairman and Admiral Boom. Casting for the roles of Jane and Michael Banks will be announced at a later date.
The magical story of the world’s favourite Nanny arriving on Cherry Tree Lane has been triumphantly and spectacularly brought to the stage with dazzling choreography, incredible effects and unforgettable songs. The stage version of Mary Poppins, brilliantly adapted from the wonderful stories by PL Travers and the original beloved Walt Disney film, continues to be a smash hit around the world since its opening in London 15 years ago.
The ensemble comprises Yves Adang, Lydia Bannister, Angeline Bell, Lydia Boulton, Matt Cox, Adam Davidson, Katie Deacon, Danielle Delys, Joshua Denyer, Stan Doughty, Glen Facey, Davide Fienauri, Ian Gareth-Jones, Mark Goldthorp, Joanna Gregory, Catherine Hannay, Jacqueline Hughes, Jason Kajdi, Sam Lathwood, Jordan Livesey, Ceili O’Connor, Malinda Parris, Alex Pinder, Ben Redfern, Rachel Spurrell, Lucie-Mae Sumner, Rhys West and Monique Young.
The original music and lyrics by Richard M. Sherman and Robert B. Sherman include the classic songs Jolly Holiday, Step in Time, Feed the Birds and Supercalifragilisticexpialidocious. New songs and additional music are by the Olivier award-winning British team of George Stiles and Anthony Drewe.
Book is by Academy Award®-winning screenwriter and Downton Abbey creator, Julian Fellowes and this production is co-created by Cameron Mackintosh. The producer for Disney Theatrical Productions is Thomas Schumacher.
This production of Mary Poppins has orchestrations by William David Brohn with dance and vocal arrangements by George Stiles. It has a new sound design by Paul Gatehouse and new lighting by Hugh Vanstone and Natasha Katz. Co-choreography is by Stephen Mear. The reimagined set and costume designs are by Bob Crowley. Co-direction and choreography is by Matthew Bourne and direction by Richard Eyre.
The stage production of Mary Poppins originally opened in the West End in December 2004, running for over 1,250 performances. During this time, the production won two Olivier Awards and an Evening Standard Award. Subsequently the Tony Award®-winning Broadway production ran for over six years.
A subsequent new production of the show, adapted from the original, enjoyed record-breaking runs in Australia, North America, the UK and Ireland, New Zealand, Holland, Mexico, Austria, Switzerland, Dubai, Japan and Germany, where the production recently entered its second hit year in Hamburg. Mary Poppins is the biggest hit musical ever in Italy playing key seasons in Milan, and in October will open in Rome simultaneous with the London production. Several further new productions are to open in Europe over the next three years.
The Prince Edward opening in October will be the first time the new production will be seen in London.
LISTINGS INFORMATION
Theatre: Prince Edward Theatre, Old Compton St, Soho, London W1D 4HS
Dates: 23 October 2019 – 29 March 2020
Performances: Mondays, Thursdays, Fridays and Saturdays at 7.30pm
Thursday, Saturday and Sundays at 2.30pm
Family Night performances on Wednesdays at 7pm
See website for Preview performance schedule
Prices: Tickets from £15
Reduced price tickets for Family Nights and Preview performances
Aisha Jawando, who has been with the Company since its world premiere in Spring 2018, steps up to play the title role in TINA – THE TINA TURNER MUSICAL from 8 October 2019. Having originally played Tina’s sister Alline Bullock, Jawando has subsequently performed the iconic role of Tina at certain performances.
Tina Turner said: “I first met Aisha during early rehearsals for our show. She was in our original West End Company playing my sister Alline and I loved her performance. It has been special to watch her journey with us and see the development of her extraordinary talent. I am so pleased that Aisha will now lead our company through its next chapter here in London.”
Aisha Jawando said:“I have loved being part of this show from the very beginning, and I am thrilled to have the opportunity to play this exceptional role. Tina Turner is such an inspirational woman and I hope that I continue to make her proud.”
Based on the life of legendary artist Tina Turner, TINA – THE TINA TURNER MUSICAL will continue its open-ended run in London at the Aldwych Theatre with new seats on sale this Autumn.
Jawando takes on the leading role from Nkeki Obi-Melekwe, who will join the Broadway company later this year to play Tina at certain performances. Adrienne Warren, who originated the role here in the West End, will lead the Broadway cast.
Aisha Jawando’s London theatre credits include the title role in Cinderella at the Hackney Empire,The Life at Southwark Playhouse, Martha Reeves in the original London cast of Motown The Musical at the Shaftesbury Theatre, Beautiful – The Carole King Musical at the Aldwych Theatre, The Book of Mormon at the Prince of Wales Theatre, Fela at the National Theatre, The Lion King at the Lyceum Theatre and Soul Sister at the Savoy Theatre.
From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race.
In the West End, Ashley Zhangazha continues as Ike Turner with Madeline Appiah who plays the role of Tina’s mother Zelma, Tsemaye Bob-Egbe will play the role of Tina at some performances each week, Irene-Myrtle Forrester as Tina’s Grandmother GG, Howard Gossington as Record Producer Phil Spector and Lyricist Terry Britten, Francesca Jackson as Ike and Tina’s manager Rhonda Graam, Ava Brennan as Tina’s sister Alline Bullock, Jammy Kasongo as Tina’s father Richard Bullock and Tina’s first love Raymond Hill, Edward Bourne as record company Marketing Manager Erwin Bach and Oscar Batterham as Tina’s Manager Roger Davies.
Directed by Phyllida Lloyd and written by Katori Hall with Frank Ketelaar and Kees Prins,TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting byBruno Poet,sound by Nevin Steinberg, projection design by Jeff Sugg and orchestrations byEthan Popp.
The critically acclaimed production received its world premiere in April 2018 in London and subsequently has broken all Box Office records at the Aldwych Theatre. Earlier this year the German premiere of TINA – THE TINA TURNER MUSICAL began performances at the Stage Operettenhaus in Hamburg and the musical will begin Broadway performances at the Lunt-Fontanne Theatre from 12 October 2019.
TINA – THE TINA TURNER MUSICAL is produced in the West End by Stage Entertainment,Joop van den Ende and Tali Pelman, in association with Tina Turner.
LISTINGS INFORMATION
Theatre: Aldwych Theatre, Aldwych, London WC2B 4DF
Dates: currently 11 January 2020
Performances: Monday – Saturday at 7.30pm, Thursdays and Saturdays at 2.30pm
King’s Head Theatre presents Robert Chesley’s Jerker:
A pornographic elegy, returning London for the first time in 29 years
Robert Chesley’s play Jerker, or The Helping Hand returns to London for the first time in 29 years in a new production at the King’s Head Theatre, directed by Ben Anderson. Co-produced by Making Productions, this show will run between 30 October and 23 November 2019. Casting has yet to be announced.
Jerker is a pornographic elegy with redeeming social value and a hymn to the queer men of San Francisco in twenty telephone calls, many of them dirty. It has been described as “one of the most important pieces of gay theatre ever created” (Los Angeles Times). It also has the dubious reputation of triggering stricter broadcast indecency guidelines in the US, after excerpts of the play were aired on KPFK Pacific Radio in Los Angeles in 1986. The one and only previous staging of Jerker in London, was directed by Stephen Daldry at the Gate Theatre in 1990.
As the AIDS epidemic intensifies in the early 80’s, Bert and J.R. begin having phone sex. They’ve never met, never seen each other and never touched, but together, they explore their wildest fantasies and the contours of their lonely souls. By turns erotic and tender, this intimate two-hander will leave you breathless before breaking your heart.
In addition to its erotic nature, Jerker embodies a deeper social importance. It reflects one of the worst periods in gay history, where the stigma of AIDS hung over the gay community, heightening public prejudice. The fear and silence around this subject was broken by a new wave of plays that began to emerge on the topic, acknowledging the crisis, humanizing lives and encouraging the need for a personal response.
In Robert Chesley’s script notes, he says “I can only hope that Jerker has done and will continue to do some good, with its message of pride in gay identity and honesty about sex.”
Director Ben Anderson commented: “Robert Chesley’s play places itself at the height of the AIDS crisis and in conversation with other, well-known plays about the period – Angels in America, The Normal Heart, As Is. Yet these poignant moments that root it in history, also make it strikingly resonant today. The focus on two men in their most private spaces allows for an honest and open embrace of gay sexuality that remains as surprising as it is joyful. Exploring their emotional intimacy, as they form a connection and learn to be themselves, Chesley’s combination of comedy and heart-breaking tragedy makes this a timely and fascinating piece to revive.”
Adam Spreadbury-Maher, Artistic Director of King’s Head Theatre commented: “We’re delighted to be staging Robert Chesley’s beautiful and important play. Jerker exposes the inhumane response to the AIDS crisis from the government of the day, and the shackles of confinement that are thrust upon these men. We must not forget this happened. Lest this play be lost to the annals of history, we have a responsibility to stage it. The themes of isolation are particularly relevant today in our world of digital addiction.
I’m proud to introduce Ben Anderson to London audiences. He’s a very exciting young director who’s just as comfortable working with some of the finest opera directors as he is in a damp tunnel at the Vaults.”
This is Ben Anderson’s graduate show from the King’s Head Theatre’s award-winning Trainee Director’s Scheme, which celebrates its 25th anniversary this year. This part time programme is designed for young directors to increase their experience and develop their craft, through producing and technical skills as well as directing experience.
Graduates of the scheme include Katie Mitchell and Michael Longhurst. The Directing Programme was created in 1994. In 2002 the Programme won the Queen’s Jubilee Award in recognition of its unique value, for contribution to the arts and pursuit of Excellence, presented by HM Queen Elizabeth II, Lord Attenborough and Richard Eyre.
King’s Head Theatre and Making Productions present
Sherlock Holmes and the Invisible Thing follows the mystery of a murder which is seemingly committed by an invisible criminal. Underlying tensions emerge as the Holmes and Watson investigate the crime, while the ‘Invisible Thing’ lurks around the house. Written by Greg Freeman, the mystery keeps the audience guessing until the very end, which involves a surprising twist on the crime.
The audience is welcomed into the intimate setting of the Rudolf Steiner Theatre with the chilling sound of the wind, the backdrop of a Victorian household ahead on the stage with extremely high attention to detail. Before the play has even begun, the traditional Sherlockian ambiance is created. The theatre itself could not be situated in a more fitting location, just off Baker Street, where Holmes famously resides.
Stephen Chance embodies Holmes perfectly, demonstrating his proficiency in logical reasoning and observation from the moment he enters the stage in the classic deerstalker hat and inverness cape. His exchanges with Watson, played by Philip Mansfield, are a joy to watch on stage as they recreate the iconic crime-solving duo. Humour is woven into the script well, particularly through the contrast of Holmes’ clever deductions against Detective Peacock’s (played by Doug Cooper) comedic substandard detective work, as well as the continued bickering between Holmes and Lucy Grendle (played by Vanessa Faye-Stanley).
The cast are able to captivate the audience from beginning to end, even when referring back to scenes which occurred offstage. It was easy to visualise these scenes without having to have them physically performed on stage. The entire duration of the play remains in the Grendle household, allowing the audience to feel involved in the crime solving process, as they experience it the same way as the detectives.
It is a cleverly written play which presents the well-loved characters in a unique case that invites audible gasps from the audience while leaving you on the edge of your seat until the dramatic reveal at the very end. It is definitely a must see, particularly for fans of Sherlock and whodunnit mysteries
It’s always a pleasure to visit this wonderful theatre in Cirencester and this was no exception. Instantly engaging, slick, characterful, hilarious and accomplished. I enjoyed this production of Patrick Barlow’s The 39 Steps directed by Joseph O’Malley very much. This theatrical parody of Hitchcock’s iconic 1935 film was first seen in London at the Criterion Theatre in 2007 where it also won an Olivier. The stage and theatre, though small by West End standards, were much larger than the Barn. The ‘usual’ evolution of a show is for it to move to bigger theatres rather than the other way around but in fact the Barn’s decision to take a risk on producing on a (much) smaller stage works amazingly well.
If you enjoy slapstick and daftness, you’ll love this. Very much in the vein of comedic slapstick championed by Chaplin and Keaton to the current ‘Comedy…. Goes Wrong’… the small but perfectly formed cast of 4 between them play an eye-watering 139 characters brilliantly and very hilariously!
Max Hutchinson plays a perfect matinée idol hero Hannay: self-deprecating, suave, intelligent (though possibly not as intelligent as he thinks!), and determined to see through to the end, be that travelling the length and breadth of the country, not being distracted by attractive women, observing ‘clues’ and analysing possible crooks. All great fun and extremely well done.
Jonathan Bourne and Colin Elmer are a brilliant double act, playing most of the show’s other characters with a commendable bank of accents, physicality and much else! Tricia Adele-Turner plays three ‘Femme Fatales’ with great style.
The twists and turns of the story demand the use of many props, physical theatre (I enjoyed Bourne and Elmer playing trees, streams, grass, bridges and much else), impeccable comic timing and the 100% suspension of seriousness. It succeeds on every level and I hope that other theatres might take the production for a week or two as indeed Windsor Theatre Royal are doing from the 12th to the 17th August. This well meshed, confident cast deliver a tight, hilarious, play perfectly complemented by superb lighting, sound and staging. One for comedy buffs and also those who love nostalgia!
Cirencester is SO easy to get to and also a very lovely definitely location and place worth the time! They also have wonderful restaurant so you can really enjoy and appreciate this lovely theatre outside of London ~ HIGHLY Recommend!
After nine spectacular years raising money for the Make A Difference Trust, WEST END BARES, theatre’s hottest annual fundraiser, announces its 10th Birthday performance; WEST END BARES: STRIPPED at Troxy on Sunday 13 October at 8.30pm.
WEST END BARES: STRIPPED, theatre’s hottest annual fundraiser, will revisit some of the much loved and classic strips from its 10-year history. Taking one number from each year and reimagining it to match the scale and spectacle of Troxy, this year’s show will see returning favourites from all previous editions as well as hot new talent from the West End and beyond.
WEST END BARES: STRIPPED will be an almighty party like no other to celebrate our tenth birthday in style. Featuring phenomenal singers alongside all the flesh audiences have come to expect with over 100 performers from the West End and beyond, this will be a birthday party like you’ve never seen before! Taking inspiration from our very first show STRIP BRITTANIA in 2010, as well as some of the most exciting moments from shows like ALL THE FUN OF THE BARE and RUBY STRIPPERS, this year’s show is guaranteed to be the hottest ticket in town
Award winning director and choreographer, Jerry Mitchell, creator of the original concept ‘Broadway Bares’, the inspiration behind West End Bares, said today: “It’s time for the biggest British Bares yet! It’s going to be one FULLOUT party so get your tickets now. Over 600 of the West End’s hottest talents have taken part since the first show in 2010 and the 10th anniversary of West End Bares proves that what we do together really does make a difference. STRIPPED will be the ultimate celebration of everything Bares stands for: community, equality and never being afraid to be sexy. Don’t miss it!”
Melanie Tranter, Chair of the Make A Difference Trust said today; “This will be a true celebration of ten amazing years of West End Bares and a celebration of the incredible generosity of the theatre community who have given their time and talent so generously to raise thousands of pounds to support those living with or affected by HIV. Together we are making a difference.”
WEST END BARES will be directed by David Grewcock and Will Lucas, with choreography from Sean Parkins (Dreamgirls, The Book Of Mormon, Wicked), Joanna Goodwin (Sunset Boulevard, Chitty Chitty Bang Bang, Barnum), Lucy Jane Adcock (Sweet Charity, Guys & Dolls, Matilda), Stuart Rogers (The Bodyguard, We Will Rock You, Mary Poppins), Racky Plews (American Idiot, Footloose, Knights of the Rose), Ashley Nottingham (Newsies, Spamalot, Thoroughly Modern Millie), Ella Nonini (Cats, Wicked, Mamma Mia) Adam Scott (Mamma Mia, That’s Entertainment) and more to announced.
Special celebrity guests and performers for this year’s performance will be announced later this Summer. Previous celebrity supporters over the last ten years have included Graham Norton, John Barrowman, Eddie Izzard, Samantha Bond, Dame Judi Dench, Joe Lycett, Beverley Knight, Summer Strallen, Tom Allen, Bianca del Rio, Michelle Visage, Adam Garcia, Dianne Pilkington, Mark Gatiss, Ian Hallard, Celinde Schoenmaker and Oliver Savile.
WEST END BARES benefits the Make A Difference Trust, a UK based charity with a vision of a world free from HIV and AIDS. Since its first scintillating show in 2010 WEST END BARES has raised over £3000,000. WEST END BARES is based on the original concept BROADWAY BARES by Tony Award winning Broadway and West End director and choreographer Jerry Mitchell.
Building on a legacy of over 30 years of fundraising by the theatre industry, The Make A Difference Trust raises funds for HIV and AIDS projects that build awareness and provide care, support and education in the United Kingdom and Sub-Saharan Africa. The Trust works with established partners to ensure projects have maximum impact and are sustainable. The Trust has distributed grants to support individuals experiencing hardship across the UK as well as grants to support projects with their UK and International partners, to relieve poverty, provide a safe environment and education for children and orphans affected by HIV and AIDS, and to secure the needs of the individual and the greater community as a whole For further information about the Make A Difference Trust please visit www.madtrust.org.uk
Tickets for WEST END BARES are on sale now and are priced at £25 – £80.
VIP tickets are available directly from the MAD Trust by calling 020 7231 9719 and include access to the pre-show drinks reception, VIP entrance to the theatre with a drink on arrival, £10 of MAD money, the best seats in the House for the legendary Rotation and access to the Exclusive After Party. Booking fees apply.
Please note: All artists appear subject to availability.
Full casting is announced for the first major revival of Chloë Moss’s play HOW LOVE IS SPELT
Michelle Collins will star as Marion in the first major revival of Chloë Moss’s play HOW LOVE IS SPELT, which opens at Southwark Playhouse on Wednesday 4th September and runs until Saturday 28th September.
Also joining the cast are Nigel Boyle (Line of Duty, Peaky Blinders), Benjamin O’Mahony (BBC’s Ripper Street), Yana Penrose (A Midsummer Night’s Dream, Regent’s Park Open Air Theatre), Larner Wallace-Taylor (An Inspector Calls, UK tour), and Duncan Moore (Windows and Caste, Finborough Theatre).
During her 30-year career, Michelle Collins has worked extensively in television, film, and theatre. Although perhaps best known for her leading roles in two of Britain’s most popular soaps, EastEnders and Coronation Street, Michelle has a host of other notable television credits to her name including 2000 Acres of Sky, The Illustrated Mum (for which she won an International Emmy Award), Sunburn, Real Women, Rock Rivals, Doctor Who, Midsummer Murders, Death in Paradise, Miss Marple, Hotel Babylon, and The Dumping Ground. Theatre credits include The Glass Supper, Hampstead Theatre; and, UK tours of Chitty Chitty Bang Bang and Thoroughly Modern Millie. Most recently, Michelle appeared in My Dad’s Gap Year at Park Theatre.
Nigel Boyle has been cast as Colin. Nigel is known for his series regular role DI Ian Buckells across two series of the critically acclaimed BBC drama Line of Duty. His other screen credits include series regular DS Anthony Reynolds in ITV’s Home Fires, The End of the F**king World (Netflix), Alan Partridge: This Time (BBC), Peaky Blinders for Tiger Aspect, and Humans (Channel 4). On stage, Nigel has appeared in DYBBUK, Crescent Theatre, Birmingham; Circus Land, New Leicester Square Theatre; Sweet Love Remembered, Shakespeare’s Globe.
The role of Joe will be played by Benjamin O’Mahony, whose acting credits include Taming of The Shrew (Hampstead Theatre), Twelfth Night, Henry V (Propeller Theatre Company, World Tour), What You Will (Shakespeare’s Globe), People Like Us (The Vineyard Theatre, New York), Unrestless (Old Vic), The Cherry Orchard (Rose Theatre Kingston), King Lear (Shakespeare at the Tobacco Factory), 24 Hour Plays (Old Vic), and The Emperor Self (Arcola Theatre). On screen, Benjamin played series regular Det. Sgt. Frank Thatcher in Ripper Street (BBC), Corporal Michael Doyle in Strike Back (Sky One), and Stefan Atkins in Doctors (BBC). He also played a leading role in the award-winning film Kajaki: Kilo Two Bravo.
Yana Penrose will play Chantelle. Yana’s theatre credits include A Midsummer Night’s Dream (Regent’s Park Open Air Theatre), An Enemy of the People (UK tour, Albany Theatre), Ballad of Rudy (Royal Exchange, Manchester), Dinosaur World (UK tour), and All The Girls Standing In The Line for The Bathroom (Theatre Royal Stratford East). For screen, credits include Humans (Channel 4) and feature films Crossing Over and Carnivore. Yana is also part of the Royal Court’s Young Writers Group 2019, and is the recipient of Camden People’s Theatre BAME seed commission for her debut play, Daddy Issues.
Completing the cast are Larner Wallace-Taylor (An Inspector Calls, UK tour; Doctors, BBC) and Duncan Moore(Windows and Caste, Finborough Theatre; The Nine O’Clock Service and The Green Quilt, Theatre503; Inside Out Festival, The Curve, Leicester; Political Pageantry, Old Red Lion Theatre; A Yorkshire Tragedy, White Bear Theatre). They will play Peta and Steven respectively.
HOW LOVE IS SPELT is directed by Charlotte Peters (Associate Director War Horse UK Tour and An Inspector Calls West End) and designed by Georgia de Grey, who wasa finalist for the Linbury Prize for Stage Design in 2013 and nominated for an Off-West End award for her set design for Alkaline at the Park Theatre.
Set in 2004,HOW LOVE IS SPELT tells the story of Peta, who’s new in town and ready for whatever London has to throw at her. She’s looking for romance, for friendship, for exciting people to lead her on big adventures.
This nostalgic and honest meditation on love and relationships from Susan Smith Blackburn Prize-winning playwright Chloë Moss (This Wide Night, Soho Theatre; Dickensian, BBC) was first produced and performed at the Bush Theatre in 2004.
At it’s inception in 1967, Hair (Book & Lyrics by Gerome Ragni & James Rado) caused quite the controversy, being a piece of protest theatre set directly in it’s own time. Middle America was – as we may say now – ‘shook’ by it’s brazen depiction of hippy culture; free love, drug-taking and an anti-establishment stance.
We follow The Tribe, living in New York’s East Village during the Vietnam War, through the trials and tribulations of adolescence to adulthood, including parental rebellion, unrequited love, and the weight of expectation that they should become good Americans.
Maeve Blacks’ set and costume transport us directly back to heyday of the hippy, each perfectly balancing the other in a rainbow of colour and texture.
Jake Quickenden (X-Factor), as unofficial leader of ‘The Tribe’ Berger, begins the narration, leading us in to the opening musical number Aquarius. Instantly recognisable, the cast gave a rousing rendition to welcome the audience to the world of Free Love.
Although Jake’s first musical theatre role, he played Berger as a provocative, promiscuous and somewhat flamboyant character, with seasoned professionalism. Not being familiar with the show beforehand, I get the feeling Berger is that arrogant-yet-loveable rogue that you really shouldn’t fall for, but do. And if that’s what he was going for, it worked!
Other notable performances came from Paul Wilkins as Claude, Berger’s close friend and cohabitee, and the third member of their somewhat complicated triangle, Sheila – played triumphantly by Daisy Wood-Davies (Hollyoaks).
The main theme of the story is Claude’s inevitable call-up to the American Army, with the heavy-weight hanging over him that if he does enrol and pledge allegiance to his country and flag, he will certainly be sent to Vietnam to fight a war he and The Tribe are passionately against.
Claude is understandably torn, his heart heavy from the expectation of his parents, his Tribe and his country – all of which he loves in his own very different ways.
The show continues through a turbulent rollercoaster of musical numbers, from sexual to hallucinogenic, heart-breaking to all-consuming love. Special mention should go to Aiesha Pease as Dionne, who shone with every emotive note. I would certainly be excited to see her in any of her future roles.
I have to say, that whilst it’s clear the cast easily display the camaraderie that any Tribe should, and all have superb voices, I feel the sound may have let them down in a way they never would each other.
It’s great to have a live band on stage with the cast – indeed it gives authenticity to Hair as one of the great rock musicals – however, with minimal spoken dialogue, you rely upon the clarity of the lyrics to help you understand, and indeed follow the story. With the ensemble at full pelt for most of the 150-minute running time, this was more often lost. It also meant that the show’s notorious ‘nude scene’ – though staged perfectly – seemed out of place, as I just didn’t understand where it had come from. I left feeling that I myself was in a drug-fuelled haze, not quite sure exactly what had been happened in front of me.
Don’t get me wrong, Hair is certainly a show I’d see again, and if the sound issues were resolved, I’m certain I would leave feeling that I, just like The Tribe, could do whatever I wanted.
PW Productions are delighted to announce a UK Tour of Susan Hill’s THE WOMAN IN BLACK, opening at Blackpool Grand Theatre on Wednesday 11 September 2019. The show will then visit Cheltenham Everyman, Southampton Nuffield Theatre, Northampton Royal & Derngate, Sheffield Lyceum, The Orchard Dartford, Stoke Regent, York Theatre Royal, Darlington Hippodrome, Aylesbury Waterside Theatre, Southend Place Theatre, Curve Leicester, Liverpool Playhouse, King’s Theatre Southsea, Cambridge Arts Theatre, Princess Theatre Torquay, Crewe Lyceum, Oxford Playhouse, Billingham Forum, Hull New Theatre, King’s Theatre Edinburgh, Churchill Theatre Bromley, Nottingham Theatre Royal and Malvern Theatres. Full tour listings below and further dates to be announced.
Producer Peter Wilson said today: “In celebration of The Woman in Black’s incredible 30 years in the West End, I am thrilled that this iconic production is to tour the UK once again. This show is set to thrill and scare audiences like never before and I can’t think of a better way to mark our birthday!”.
Stephen Mallatratt’s adaptation of Susan Hill’s best-selling novel tells the story of a lawyer obsessed with a curse that he believes has been cast over his family by the spectre of a ‘Woman in Black’. He engages a young actor to help him tell his story and exorcise the fear that grips his soul. It begins innocently enough, but as they delve further into his darkest memories, they find themselves caught up in a world of eerie marshes and moaning winds. The borders between make-believe and reality begin to blur and the flesh begins creep.
In June this year THE WOMAN IN BLACK celebrated its 30th Anniversary in London’s West End with a special gala performance at The Fortune Theatre.
THE WOMAN IN BLACK is directed by Robin Herford, with designs by Michael Holt and lighting by Kevin Sleep.
