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AMELIE THE MUSICAL

CRITICALLY ACCLAIMED MUSICAL

TRANSFERS TO THE WEST END THIS CHRISTMAS

PLAYING A LIMITED SEASON AT THE OTHER PALACE

29 NOVEMBER 2019 – 1 FEBRUARY 2020

Amélie The Musical, based on the much-loved, five-time Oscar®-nominated film, will transfer to the West End this Christmas following its current UK tour, and its sell-out season premiere at the Watermill in Newbury in April.

Starring French-Canadian stage and screen star Audrey Brisson as ‘Amélie Poulain’, this beloved story of an imaginative and shy romantic with a gift for helping others, in a vibrant re-conception with new orchestrations, has garnered critical and public acclaim, and will play at THE OTHER PALACE in London from 29 November 2019 – 1 February 2020.

Amélie is the story of an astonishing young woman who lives quietly in the world, but loudly in her mind. She secretly improvises small, but extraordinary acts of kindness that bring happiness to those around her. But when a chance at love comes her way, Amélie realises that to find her own contentment she’ll have to risk everything and say what’s in her heart. Although times are hard for dreamers, Amélie is someone to believe in…

With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, this new musical adaptation of the five-time Oscar®-nominated film written by Jean-Pierre Jeunet and Guillaume Laurant, is directed by Michael Fentiman.

Michael Fentiman said, “I really hope London audiences will be enchanted by our little Parisian Tale. The show was originally created in the beautiful and inspiring Watermill Theatre, with some of the most skilled performers and creatives I have ever had the privilege to work with. We are led by the wonderful Audrey Brisson, who (I am sure you will agree) was born to play the role of ‘Amelie’. Amelie is a show about making connections, the simple acts of kindness that pull people closer, not further apart… In such divisive times, we all need a little piece of Amelie.”

Audrey Brisson’s theatre credits include: The Elephantom, Pinocchio and Pericles (National Theatre), Midnight’s Pumpkin and The Wild Bride (Kneehigh), The Lion, The Witch and The Wardrobe (Kensington Gardens), Dead Dog in a Suitcase & Other Love Songs (Kneehigh), Romeo and Juliet (Rose Theatre, Kingston), The Flying Lovers of Vitebsk (Kneehigh), The Grinning Man (Bristol Old Vic), The Strada (UK Tour & The Other Palace). Her film credits include: Hereafter directed by Clint Eastwood and W.E. directed by Madonna. Television includes: Outlander (Amazon), Money (BBC Two). Radio includes the title role in Amy Dorrit (BBC Radio).

The full cast includes Sophie Crawford as ‘Gina’ (War Horse – NT, Twelfth Night – Orange Tree), Faoileann Cunningham as ‘Georgette’ / ‘Sylvie’ (Mary Stuart – Almeida, Ulysses – Abbey Theatre), Rachel Dawson as ‘Andamine’ / ‘Philomene’ (The Jungle Book – UK Tour, A Little Night Music – The Watermill), Oliver Grant as ‘Lucien’ / ‘Mysterious Man’ (War Horse – UK Tour, Twelfth Night – Chichester Festival Theatre), Chris Jared as ‘Nino Quincampoix’ (946: the Amazing Story of Adolphus Tips – Shakespeare’s Globe, The Duchess of Malfi – Nottingham Playhouse), Caolan McCarthy as ‘Hippolito’ / ‘Elton John’ (The Plough and the Stars – NT, The Beggar’s Opera/Alice in Wonderland – Storyhouse), Samuel Morgan-Grahame as ‘Joseph’ / ‘Fluffy’ (Sister Act – UK Tour, All My Sons – Regent’s Park Open Air Theatre), Emma Jane Morgan as ‘Delphine’ (Sweet Charity – The Watermill, Crazy for You – UK Tour), Kate Robson-Stuart as ‘Suzanne’ (Crazy For You – UK Tour, Untold Stories – Watermill Theatre), Josh Sneesby as ‘Blind Beggar’ (The Hypocrite & Birthday Bash – RSC, One Man, Two Guvnors– Adelphi Theatre/Theatre Royal Haymarket), Jez Unwin as Raphael / Bretodeau (Oliver – Leicester Curve, Once – Phoenix Theatre) and Johnson Willis as Collignon / Dufayel (Harold and Maude – Charing Cross Theatre, Dido Queen of Carthage & Salome – RSC Swan)

The original film, Le Fabuleux Destin D’Amélie Poulain, was released in 2001, starring Audrey Tautou and Matthieu Kassovitz. Taking over $33 million in a limited theatrical release, it is to date the highest-grossing French-language film released in the United States, and one of the biggest international successes for a French film. Amélie won Best Film at the European Film Awards, four César Awards in 2002 (including Best Film and Best Director), two BAFTA Awards (including Best Original Screenplay), and was nominated for five Academy Awards, including best foreign language film.

Amélie The Musical was first staged in California in 2015 and was described as an ‘enchanting act of theatrical reinvention’ (The Los Angeles Times).

Amélie The Musical will tour internationally in 2020, with dates to be announced.

Amélie The Musical, is produced by Hartshorn – Hook Productions, Selladoor Productions, The Watermill Theatre and Broadway Asia. Associate producers are London Limelight and Jonathan Demar.

WEBSITE / FACEBOOK / TWITTER

THE OLIVIER AWARD-WINNING, INTERNATIONAL CABARET SENSATION

MAKES FIRST WEST END APPEARANCE IN OVER A DECADE,

AS THE THEATRICAL HIGHLIGHT OF UNDERBELLY’S CHRISTMAS IN LEICESTER SQUARE SEASON

THE ORIGINAL SPIEGELTENT CABARET RETURNS WITH A STELLAR LINE-UP

Performances begin Friday 8^th November

Tickets go on sale today (Tuesday 9 July) exclusively via TodayTix

and on general sale from Wednesday 10 July.

Leicester Square’s festive offering comes with more spice than a glass of mulled wine this year as La Clique, the world’s original and trailblazing Spiegeltent cabaret show, today confirms its return to the capital to knock audience’s Christmas stockings off. A decade on from their Olivier Award-winning run at the Hippodrome (Best Entertainment), La Clique returns to the heart of London’s West End to the Leicester Square Spiegeltent. With an outrageous and magnificent collection of extraordinary new artists and unmissable favourites, La Clique will be the show-stopping highlight of Underbelly’s Christmas in Leicester Square, playingfrom Friday 8^thNovember – Saturday 4^th January.

Borne of an inspired creative idea by producer David Bates (owner and producer of The Famous Spiegeltent) at the Edinburgh Fringe in 2004, the multi award-winning La Clique has since toured the world to international acclaim and sell-out audiences, inspiring a new generation of cabaret as the definitive and original Spiegeltent mixed genre variety show. A magical, mirrored wonderland of glamour, beauty and intrigue, Bates’ re-invention of the Spiegeltent as a venue has led to a renewed use of the tents as a staple of modern performing arts festivals across the globe, offering an intimacy and allure like no other.

Audiences stepping into this seductive world can of course expect to be awe-struck by La Clique’s signature mixed bill of superbly talented artists, featuring the crème de la crème of the worlds of circus, comedy, cabaret, subversive performance and contemporary Vaudeville. True to La Clique’s pioneering spirit, this year’s line-up marries established, world-class variety acts with a new generation of ground-breaking artists.  

Confirmed acts to date include: mistress of mayhem, Bernie Dieter (Little Death Club) as MC, gentleman juggler Florian Brooks, the fire-breathing, sword-swallowing, side-show sensation Heather Holliday and aerialist Stephen Williams performing the iconic Bath Boy act. Further acts will be announced over the coming months.

Integral to La Clique, and setting the tone for the evening, is its scintillating live house band, La Clique Palace Orkestra (featuring the astounding vocals of Kelly Wolfgramm). Adding a sublime ambience, this evening of entertainment is as much a live concert as it is the world’s most infamous variety show.

Sexy, funny and dangerous, La Clique is a celebration of the exotic and mesmerising. An unmissable treat, it is pure entertainment that celebrates what a night in one of the world’s most salubrious salons should be about.

La Clique is produced in London by Underbelly and David Bates.

David Bates comments of La Clique’s return to London:

“The Olivier Award-winning little show that launched 1000 imitations returns to the scene of the crime this winter, a mere 50 feet from where it took the West End by storm at the Hippodrome in 2008. As the original producer of La Clique I am extremely excited to be returning to where adult variety became ‘legit’ and entered the ‘mainstream,’ all the while, teetering on the edge of the ledge it created, continuing to raise the bar, before leaping off! La Clique returns with the hottest live band, kick-arse new acts and more sass than ever! Plus, yes, even bath-boy is back! The greatest thrill for me is to be back in the West End –  at Christmas, with a new show that defies description…sexy, funny, dangerous! La Clique remains the original and the best! ”

Ed Bartlam and Charlie Wood, Directors, Underbelly said:

“The original, the biggest, the best of the best is back in London. We couldn’t be happier to welcome La Clique to Underbelly’s Christmas in Leicester Square and the incomparable Leicester Square Spiegeltent 10 years after it exploded into London’s west end and set the cabaret world on fire. Audiences are once again going to be enraptured and astonished and 100% entertained by the world leading acts of La Clique.”

Cllr Iain Bott, Cabinet Member for Sports, Culture and Community, Westminster City Council said:

“We are pleased to be working with Underbelly to deliver Christmas in Leicester Square which is a highlight of the West End’s festive calendar. The addition of La Clique will further enhance the Square’s unrivalled reputation as the home of UK entertainment, whilst the event’s Winter Windows scheme offers our younger residents a fantastic opportunity to showcase their talents in an iconic location.’’  

Christmas in Leicester Square is produced by Underbelly on behalf of Westminster Council and returns for a fourth year this winter. The world-famous square will once again be transformed into a festive fun land with something for all ages. In addition to a stellar line-up of entertainment, the pop-up festive will play host to a Santa’s Grotto, Winter Windows and a beautiful European-style Christmas market offering gifts, food and drinks.

As part of the exclusive Today Tix pre-sale, tickets will be available from just £15

www.todaytix.com | Or via the Today Tix App | www.lacliquetheshow.com

For more information, please see:

www.lacliquetheshow.com

www.christmasinleicestersquare.com/whats-on/la-clique

LISTINGS INFORMATION – LA CLIQUE

LEICESTER SQUARE SPIEGELTENT

Christmas in Leicester Square

Leicester Square Gardens

Leicester Square

WC2H 7NA

TICKETS

Box Office: (t) 0333 444 167 

Ticket prices start from £19.50

BOOKING ONLINE

www.lacliquetheshow.com/home

SEASON DATES

Friday 8^th November – Saturday 4^th January

PERFORMANCE TIMES

Monday – Thursday: 8pm 

Friday – Saturday: 7pm and 10pm (except Friday 8^th Nov, 8pm show only)

No performances Tuesday 24^th or Wednesday 25^th December

SOCIAL MEDIA

Website: www.lacliquetheshow.com

Facebook: Leicester Sq Xmas and La Clique The Show 

Instagram: LeicesterSqXmas and LaCliqueTheShow

Twitter: LeicesterSqXmas

Grand Opera House York until Saturday 13th July 2019

Reviewed by Michelle Richardson

3***

Thriller Live, a two hour musical celebration featuring the hit songs of Michael Jackson and the Jackson 5. Celebrating a career spanning 40 years of the “King of Pop”, selling over 750 million records, this promises to be an extravaganza of his work. As well as currently touring, this show is still playing in the West End, making it one of their longest running shows.

With four main vocalists, Trace Kennedy, Britt Quentin, Rory Taylor and Ina Seidou, hitting the stage, the start of the show was very underwhelming, a bit quiet and flat, I was certainly not blown away. All four could sing, but some spark was missing. Seidou’s mike could have done with being turned up, she had a great voice but it needed to be louder. For me the stand out vocalist was Taylor, his rendition of She’s Out of my Life, was a definite highlight. The show did warm up with the addition of the dancers, that was until the vocalists left the stage and we were left with a video recording of a young would be Michael Jackson, singing Rockin’ Robin, accompanied by the dancers. I was disappointed in this aspect as we had come to see a live show.

The dancing really shone, with gusto and energy. Dancing was so integral in the Michael Jackson persona, and what we saw was pretty true to his memory. The dancing to Dangerous and Smooth Criminal, with the lean, were literally outstanding. The dancers were joined by the fifth vocalist Kieran Alleyne, who looked just like Jackson, with all his moves and mannerisms, magnificent, his dancing when he is on stage is fantastic. There is a big but here, even though he finished third in 2016’s X Factor he appeared to be miming to a couple of his songs, not that he had that many, disappointing.

Thriller Live is not a regular musical, there is no story behind the show, it is more of a concert/tribute show. There is a narration of bullet points in his music, hosted in the most part by Quentin, through his songs, but this was a bit disjointed and did not have a natural flow about it. The range of music, from ABC, to Dangerous, to my personal favourite PYT and many more, were good and I couldn’t help but singing and moving along in my seat to the music.

During the first half of the show we were dragged up out of our seats and encouraged to put our hands up in the air and have a sing off with the other half of the audience. This was a bit uncomfortable as the audience had yet to warm up, and the York crowd can be a reserved bunch. It was unfortunate that this was the only time, apart from the finale, that the audience were up dancing along. The finale really lifted the show and you couldn’t help but get carried away at that point, it is such a shame that energy wasn’t evident for the show in it’s entirety.

I expected so much more but unfortunately I was not blown away by this performance, even with the high energy dancing. It is still worth a watch and is suitable for all, and a great chance to hear some great tunes. I nearly forgot to mention the moonwalking, wow, that alone is probably worth a ticket.

THE FIRST REVIVAL OF

SARAH WATERS’S

THE NIGHT WATCH

TO TOUR UK FROM 22 AUGUST 2019

The Original Theatre Company and York Theatre Royal present, from the international number one best-selling author Sarah Waters, THE NIGHT WATCH, adapted by Hattie Naylor (Ivan And The Dogs, Going Dark, As the Crow Flies and Bluebeard). First performed in 2016 at Manchester’s Royal Exchange, the first revival of THE NIGHT WATCH opens at Devonshire Park Theatre, Eastbourne on 22 August, touring the UK until 23 November 2019.

Set in London in the 1940s, we follow the lives and loves of people recovering from the chaos of war. THE NIGHT WATCH is a tender, tragic and beautifully poignant portrait of four ordinary people caught up in the aftermath of an extraordinary time.

Sarah Waters (Tipping the Velvet, The Paying Guest and The Little Stranger) has sold over 2 million novels in England and 4 million worldwide, of which half a million were THE NIGHT WATCH. Olivier-nominated playwright Hattie Naylor creates a gripping and theatrically inventive adaptation of this great modern novel. From the team that brought you Birdsong, The Habit of Art and The Importance of Being Earnest,this eagerly anticipated brand new production will tour for the first time.

The tour will star Mara Allen, Louise Coulthard, Malcolm James, Lewis Mackinnon, Phoebe Pryce, Florence Roberts, Sam Jenkins-Shaw and Izabella Urbanowicz.

Mara Allen graduated from RADA this year. THE NIGHT WATCH will be her first UK tour and debut since graduating.

Louise Coulthard was recently nominated for Best Actress at the 2018 Off West End Awards for her performance in Cockamamy, which she also wrote. Cockamamy also won the Lustrum Award for Outstanding New Play at The Edinburgh Fringe in 2017 and transferred to London in 2018. It is now in development for television. Her other theatre credits include The Importance of Being Earnest (UK Tour for the Original Theatre Company), House and Garden (The Watermill Theatre) and Dreams of Home (Theatre Royal Stratford East).

Malcolm James recently played Paravicini in The Mousetrap (St Martin’s Theatre). His other theatre credits include The Woman in Black (Fortune Theatre and UK Tour), Birdsong (UK Tour for the Original Theatre Company) and Equus (UK and Ireland Tour). His television credits include: Beyond Reasonable Doubt (CNN), Coronation Street, Heartbeat, The Bill and Crossroads (ITV). He recently starred in the film My Dinner with Hervé (HBO).

Lewis Mackinnon’s film credits include Dragonheart: Battle For The Heartfire (Universal) and Chosen (Sterling Pictures). His television credits include Doctors (BBC), Victoria II (Mammoth Screen/ITV). His theatre credits include Three Sisters (Belfast Lyric Theatre), Your Last Breath (Curious Detective/Southwark Playhouse) and Dead Sheep (Soho Theatre).

Phoebe Pryce’s theatre credits include Cash Cow (Hampstead Theatre), The Picture Of Dorian Grey (UK Tour), A Passage To India (Park Theatre/UK Tour), The Tempest (Shakespeare’s Globe) and The Merchant of Venice (Shakespeare’s Globe/International Tour).

Florence Roberts most recently appeared in A Hero Of Our Time (International Tour), Losing Venice (Orange Tree Theatre), Booby’s Bay (Finborough Theatre in association with Bristol Old Vic). Her television credits include Holby City (BBC), This Is A Relationship; Dan?, which won the Shortlist Shorts at Raindance Film Festival, and Life in Black, which won Best Web/TV Series at London Independent Film Awards.

Sam Jenkins-Shaw’s theatre credits include A Christmas Carol (RSC), The Roman (Vaults Festival), The 39 Steps (Stephen Joseph Theatre & Theatre Clywd) and Future Conditional (Old Vic).

Izabella Urbanowicz’s theatre credits include After The Dance (Theatre by the Lake), Miss Julie (Theatre by the Lake / Jermyn Street), A Haunting (The Vaults), What You Will: Pop Up Shakespeare (Shakespeare’s Globe) and Truth And Reconciliation (Royal Court Theatre). Her television and radio credits include Spotless, Titanic, Doctors (BBC), The Corrupted and The Archers (BBC Radio 4).

THE NIGHT WATCH is directed by Alastair Whatley and designed by David Woodhead, with lighting by Nic Farman, sound by Dominic Bilkey, casting by Ellie Collyer-Bristow CDG, music by Sophie Cotton and movement direction from Lucy Cullingford.

The tour is produced by The Original Theatre Company and York Theatre Royal.

Website: www.originaltheatre.com

Facebook: Original Theatre #TheNightWatch

Twitter: @OriginalTheatre #TheNightWatch

Age Guidance: 13+

TOUR SCHEDULE

22 – 31 August                       Devonshire Park Theatre, Eastbourne                          0132 341 2000

                                               www.eastbournetheatres.co.uk

4 – 7 September                     York Theatre Royal                                                       01904 623 568

                                                www.yorktheatreroyal.co.uk

18 – 21 September                 Hexagon Theatre, Reading                                           0118 960 6060

                                               www.readingarts.com/hexagon

23 – 28 September                 Yvonne Arnaud Theatre, Guildford                               01483 44 00 00

                                                www.yvonne-arnaud.co.uk

30 September – 5 October     New Wolsey Theatre, Ipswich                                       01473 295 900                                                                                                                                         www.wolseytheatre.co.uk

15 – 19 October                      King’s Theatre, Edinburgh                                            0131 529 6000                                                                                                                                         www.capitaltheatres.com

21 – 26 October                      Warwick Arts Centre                                                     0247 652 4524

                                                www.warwickartscentre.co.uk

5 – 9 November                      Richmond Theatre                                                        0844 871 7651                                                                                                                                         www.atgtickets.com/richmond-theatre                          

11 – 16 November                  Salisbury Playhouse                                                      01722 320 333                                                                                                                                          www.wiltshirecreative.co.uk

18 – 23 November                  Ashcroft Playhouse, Fairfield Halls, Croydon                0203 292 0002                                                                                                                                          https://www.fairfield.co.uk

Yvonne Arnaud Theatre, Guildford – until 13th July 2019

Reviewed by Antonia Hebbert

5*****

Rachel, an alcoholic with a messed-up life, becomes obsessed with the perfect-seeming couple she sees from the train every day. She even invents names for them. Then the woman, ‘Jess’, disappears and is found dead. In an alcoholic haze, Rachel involves herself in the police investigation and lies her way into the husband’s confidence. At the same time she is a menacing presence in her ex-husband’s idyllic new marriage. Is Rachel a fantasist, a stalker or worse? Or none of the above? As she struggles to work out what’s real and what’s just in her head, the audience is also left guessing – or at least they would be, if most of them didn’t already know the story. This play is based on Paula Hawkins’s 2015 bestseller The Girl on The Train, which has sold millions of copies and was released as a film in 2016, so the plot will be quite familiar to many.

No worries that this production will be too familiar however. It ratchets up the tension, with notable help from Ben and Max Ringham’s dark, moody music. The set is equally dark and moody: sometimes the players appear in a black space, sometimes they are in highly realistic, just-right interiors (set designs are by James Cotterill). There is something satisfyingly menacing about the way Rachel’s grim little kitchen clunks together when it first appears. In another nice touch, audience members returning to their seats after the interval find that the stage has become a crime scene.

The casting seems just right too. Rachel is brilliantly played by Samantha Womack, better known as Ronni Mitchell in BBC1’s EastEnders. She holds the stage while coming across convincingly as someone who has hit rock bottom and can barely string together a sentence. Oliver Farnworth (also familiar from Coronation Street) is the grieving (or is he?) bereaved husband; Kirsty Oswald his dead wife, appearing in memories and flashbacks. Adam Jackson-Smith and Lowenna Melrose are the happy (or are they?) couple, whose life seems to highlight the inadequacy of Rachel’s own. John Dougall brings brisk dry humour to the proceedings as the detective looking at the case, although in a way he is incidental to the way things work out – this story is all about the relationships between the various couples. As Rachel sorts out her own life, she begins to see that other lives may not be as perfect as they seem.

It may not be entirely realistic – would Rachel really have found out as much as she does? But with gloom, deception, death and a few heartstopping moments, it all adds up to a grand night out at the theatre.

AN EVENING WITH TRACIE BENNETT

WILL BE PRESENTED BY HOPE ARIA PRODUCTIONS AT

HOPE MILL THEATRE, MANCHESTER

ON SUNDAY 4 AUGUST

Katy Lipson of Aria Entertainment and Joseph Houston and William Whelton of Hope Mill Theatre, Manchester are delighted to announce An Evening with Tracie Bennett, at 7pm on Sunday 4 August at Hope Mill Theatre.

Olivier Award-winning actress Tracie Bennett will be sharing stories and songs from her highly varied and acclaimed career – from the cobbles of Coronation Street to the Broadway and West End stages, including starring as Judy Garland in the feted End of the Rainbow and the recent Olivier Award-winning National Theatre production of Follies.  The Evening will also feature guest singers performing songs from Tracie’s back catalogue of work. Tickets include a glass of fizz and there will be a raffle on the night with some amazing prizes to be won.

The Evening precedes Tracie’s appearance in the eponymous role of Jerry Herman’s much loved musical Mame, alongside Harriet Thorpe as Vera and Tim Flavin as Beaurigard, which has press nights on Thursday 3 and Friday 4 October 2019.

An Evening With Tracie Bennett will be Hope Aria Production’s third fundraising event, after the success of An Aria of Hope and Dreams and An Evening with Stephen Schwartz, with all proceeds from ticket sales going towards their 2019 season of work. The 2019 season opened with Stephen Schwartz’s Rags in March and will continue with Mame from 28 September to 9 November, finishing with new musical The Astonishing Times Of Timothy Cratchit, with music and lyrics by newcomer Andre Catrini, from 22 November to 29 December.

Hope Aria Productions was created in 2016, when Joseph Houston and William Whelton of Hope Mill Theatre joined forces with Katy Lipson of Aria Entertainment to spearhead the venue as a home for new musicals, musical premieres and musical revivals. Katy is now Producing Artistic Director for all in-house musicals. Hope Aria productions since 2016 include Rags, Parade, Hair, the European premiere of Yank!, Pippin, the European premiere of Little Women, the world premiere of Toyboy Diaries, Spring Awakening, Andrew Lloyd Webber’s Aspects of Love, new British chamber musicalThe Return of the Soldier, and Stephen Sondheim’s Putting It Together. London transfers includeYank! at Charing Cross Theatre, Pippin at Southwark Playhouse, Hair at The Vaults, which won the WhatsOnStage Award for Best Off West End Production, and Aspects of Love at Southwark Playhouse. The UK Tour of Hair continues until 10 August 2019.  In 2018, Hope Mill Theatre won The Stage Award for Fringe Theatre of the Year. Katy, Joe and Will appeared on The Stage 100 list both in 2018 and 2019 for their work at Hope Mill Theatre.

LISTINGS INFORMATION

Hope Mill Theatre

Hope Mill
113 Pollard Street
Manchester
M4 7JA

Box Office:  0333 012 4963

hopemilltheatre.co.uk

www.facebook.com/HopeMillTheatre/

@hopemilltheatr1 / @HopeAria2019

www.instagram.com/hopemilltheatre/

An Evening with Tracie Bennett

Sunday 4 August

Event: 7.00pm

Tickets: £30 (including a glass of fizz!)

Mame

28 September – 9 November 2019

Tickets: £21 – £29 (Previews £16) Premium tickets available

Tue-Sat 7.30pm, Wed & Sat 2.30pm, Sun 3pm

The Astonishing Times of Timothy Cratchit

22 November – 29 December 2019

Tickets: £18 – £28 (Previews £16) Family and Premium tickets available

Tue-Sat 7.30pm, Wed & Sat 2.30pm, Sun 3pm (2.30pm only on 24 December, no performances 25 & 26 December)

MULTI AWARD WINNING DIRECTOR & PRODUCER

PAUL TAYLOR-MILLS TO OPEN EXCITING NEW VENUE AT BATTERSEA POWER STATION

GENERATING NEW WORK.      POWERING PREMIERES.      RE-ENERGISING CLASSICS.

LAUNCHING ON 22 AUGUST 2019

WITH THE TONY AWARD WINNING

TORCH SONG

WRITTEN BY HARVEY FIERSTEIN &

DIRECTED BY OLIVIER AWARD WINNING DREW McONIE

The Turbine Theatre is a brand new theatre on the banks of the Thames next to the iconic Battersea Power Station, presented by Bill Kenwright and founded and led by Artistic Director Paul Taylor-Mills.The theatre will be located under the Grosvenor Bridge railway arches at Circus West Village, the first chapter of the iconic Battersea Power Station’s regeneration, which is already a thriving riverside destination located at the foot of the iconic Grade II* listed landmark. 

The Turbine Theatreis an intimate theatre with big ambitions. Everything they do revolves around one simple idea: powering the imagination.

Paul Taylor-Mills, Artistic Director, The Turbine Theatre said, “I’m elated to be launching a brand new theatre at the iconic Battersea Power Station. The vision is a simple one, to enable world class artists to tell stories that enchant at The Turbine Theatre and eventually play beyond our London home. We’re interested in being the starting point for new shows and also reimagining the older ones.

It has been a lifetime dream of mine to have a home for my ideas that feels authentically ‘me’. Over the last year I’ve had the most precious time curating a venue and programme that reflects my tastes and I’m really excited about welcoming those that have followed my work over the last couple of years.

I’ve been blessed with the most wonderful partners in Bill Kenwright and Hilary and Stuart Williams, without whom none of this would have been possible.”

Honor Fishburn, Director of Placemaking at Battersea Power Station Development Company (BPSDC), said: “We are extremely excited to work with Paul Taylor-Mills on The Turbine Theatre to enhance the arts and culture offering already available at Circus West Village. Paul will build upon the success of The Village Hall, which will continue to be used as an extraordinary venue for generating new ideas and talent, while widening access to creative spaces for local residents. Establishing a new cultural district for London that will generate a sense of community has always been a key focus for our shareholders in the regeneration of Battersea Power Station and will continue to be a very important pillar as the neighbourhood grows.”

THE TURBINE THEATRE – INAUGURAL SEASON

New energy drives everything we do, from festivals of brand new works, world premieres of new productions and classic stories reimagined for contemporary audiences.

Every story is a journey andThe Turbine Theatreaims to be just the first stage for every idea, risk and labour of love that is brought to life in this electric new environment. We want to be the spark for the most talented and diverse voices that theatre has to offer.

We’re also passionate about playing a vital role at the heart of the emerging local Battersea community, offering a dynamic public space by day, and a groundbreaking theatre by night.

The Turbine Theatre’s inaugural season opens with Torch Song, presented by Bill Kenwright, a new revival of Harvey Fierstein’s dizzyingly funny and deeply touching landmark play, directed by Olivier Award winning Drew McOnie (King Kong, Strictly Ballroom, On The Town).

The groundbreaking and Tony Award winning story of drag queen Arnold Beckoff and his quest for true love in 1970s Manhattan is a hilarious and heartbreaking portrait of love, loss, sexual identity and the deep longing for family approval that drives us all forward, and drives us all crazy.

Torch Song opens the doors to The Turbine Theatre from 22 August, running until 13 October. The production stars Daisy Boulton (Yonderland, Working Title/Sky), Dino Fetscher (Years and Years, BBC),  Matthew Needham (Chernobyl, HBO, Summer & Smoke, Almeida/West End) and Rish Shah (Years and Years, BBC), with further casting to be announced in due course.

Torch Song features design by Ryan Laight, lighting by James Whiteside, sound by Seb Frost, with casting by Will Burton.

LISTINGS

Bill Kenwright presents a Paul Taylor-Mills endeavor, The Turbine Theatre.

TORCH SONG

THE TURBINE THEATRE

WRITTEN BY HARVEY FIERSTEIN

DIRECTED BY DREW McONIE

22 AUGUST – 13 OCTOBER 2019

Address: The Turbine Theatre, Arches Lane, Circus West Village, London, SW11 8AB

Shakespeare’s Rose Theatre York – until Sunday 1st September 2019

Reviewed by Michelle Richardson

3.5***

Following the highly successful inaugural season last year, Shakespeare’s Rose Theatre is gracing the York skyline with its presence once again. The premise is the same, four plays, two company of actors, performing right up until the 1st September. It astounds me that the actors can switch so easily between two different plays, but what is even more astonishing is that the schedule sometimes has the same company performing their two plays on the same day, a huge feat, must be exhausting. What makes this year different is the fact that another pop up theatre, at Blenheim Palace, is also following the same set up. If this continues to be as successful there are plans to roll out elsewhere, and grow.

I must admit that I am not a big fan of Shakespeare and I have worked out that I find his comedies easier to watch, so I had hopes. I did not know this play beforehand, the basics are twins Viola and Sebastian are shipwrecked on the coast of Illyria, unaware of each other’s survival. In order to stay safe in a foreign land, Viola disguises herself as a boy, Cesario, modelling her new male self on the appearance of her twin brother. As Cesario, she finds employment in the service of Duke Orsino, only to find herself falling in love with him. But Orsino is suffering the pangs of unrequited love for Lady Olivia. Sent to woo Olivia on his behalf, Cesario is dismayed to discover that she has herself become the object of Olivia’s affections. When Olivia later comes across Viola’s twin brother Sebastian fighting a duel with another of her rejected suitors, Sir Andrew Aguecheek, she believes him to be Cesario and comes to his rescue. Unlike his sister Viola, Sebastian has no qualms about being loved by Olivia.

Amidst the more poignant moments of heartache, misunderstanding and exclusion, the scene is also set for much delightful confusion, joyful abandon and comic mayhem!

This Illyria, appears to be set in the roaring twenties, with its Art Deco inspired set to the flapper dresses and pin stripes, and not forgetting the yellow cross gartered stockings. The stage is used for all four shows, so there is only a limited number of changes that can be made. The stage appeared to be the same as last year, wooden in construction, with a balcony dominating the middle, and the painted half roof.

The whole cast work hard to deliver strong performances. Alex Phelps provides a lot of laughs as Sir Andrew Aguecheek, he certainly has a knack for physical comedy and he did have me laughing along with the rest of the audience. The other stand out performance for me was Rina Mahoney as Maria, I can only describe her as a little pocket rocket, full of impish mischief, I really enjoyed watching her on the stage.

I believe I roughly followed the story, but at times I had no idea what was happening and was completely lost. Occasionally the comedy just went over my head, even though some of the audience were laughing their heads off, quite a few were the other company of actors who were having the night off, so at least they knew what was going on. I did find it start to drag at various stages, could have done with a bit of editing, can you do that to Shakespeare? From where I was seated, front row but right at the left of the theatre, I thought I had excellent seats, which was great for the visual, but I really did struggle to hear what was being said, especially when the actors had their back towards me, perhaps that was the problem, where I was seated. Last year the performances did not use microphones either, and I do not recall having this same issue with understanding dialogue. Maybe the best place to sit is in the centre seats, or even purchase a groundling ticket and really be part of the action, as the actors weave amongst you, just watch out if you’re drinking or eating, someone may come along and steal your chips. Seating may have had an impact on my whole experience.

Don’t get me wrong, there were parts that were really enjoyable and extremely funny and though this is not my favourite Shakespearean adaptation, I would encourage anyone to give it a go. It really is a fully immersive experience, with the theatre set within the grounds of a Shakespeare village, with food and drink aplenty, you may even be treated to a free wagon performance. It really sets the ambience for an enjoyable day/night out.

A tip if you do decide to go in the evening, take a cushion, to sit on, and a blanket, to keep yourself warm, as it can get a bit chilly.

Jack Studio Theatre – until 27 July 2019

Reviewed by Claire Roderick

3***

Arrows and Traps takes a giant leap into new territory with this comedy celebrating the 50th anniversary pf the moon landing. In Ross McGregor’s farcical version of events, NASA can land on the moon, but just can’t film it. Enter Edward Price, producer of a sci-fi show that has just been cancelled before the end of its first season. Offered 2 million dollars by a CIA agent to fake footage, Price and his ex-wife Carol try to keep their eccentric cast and crew in the dark as they film their new rewritten scenes.

This is a great premise, and there are lots of good ideas (maybe too many), but it doesn’t quite gel together. Firstly, it’s too long – there’s a good 20 or 30 minutes of material that could be lost in order to create a more coherent and focussed comedy. Setting up the situation and the characters takes too long and isn’t needed as these are familiar stereotypes. Their backstories could perhaps be just as obvious through some well-timed throwaway lines as the plot progresses. As it is, the first scenes drag a little as each character gets their moment.

There’s the hippy newcomer, Alchemy (Lucy Ioannou), adored by walking disaster area Howard (Will Pinchin), leading man Daniel (Steven Jeram) – graduate of the groin and eyebrow acting academy of starship captains, Linda (Vivian Belosky) resigned to wearing as little as legally possible on a Sunday evening show, and Perry (Daniel Ghezzi), the frankly insane but deeply committed actor who dons the rubber masks to play the aliens. Ghezzi steals every scene with his magnificently OTT performance which blends aspects of French Stewart in 3rd Rock From The Sun, John Leguizamo in Moulin Rouge and a shedload of LSD. With a talented cast like this I can understand why McGregor would want to give them as much to do as possible, but there aren’t many laughs until the moon landing plot is revealed by Alex Stevens’ Agent Harris. The relationship arcs are obvious from the beginning in authentic trashy TV style, and sometimes the play has the feel of a trippy episode of Scooby Doo – which is never a bad thing.

The comedy influences are clear, with Charlie Ryall and Christopher Tester providing fine verbal sparring in Spencer Tracy/Katherine Hepburn mode and lots of slapstick physicality, with some absurdist business thrown in for good measure. But while Tester and Ryall give their all, the audience’s eyes and attention are drawn to the glorious clowning of Pinchin and Ghezzi as they perform their schtick in the background. There could well have been some genius lines being delivered, but nobody was really listening as they were absorbed by Ghezzi and his disturbingly complex relationship with a stepladder. There is just too much going on at once, and while nothing is done badly, the components of some scenes seem to be in competition against, rather than working with, each other. There’s no doubting that McGregor is an excellent writer – some of the more reflective, quieter moments are delightful – but an excellent script editor might help streamline One Giant Leap into something special. The set is wonderfully detailed and authentic, and as always with Arrows and Traps, the music is perfectly judged. As the landing date approaches and things get more frantic, the laughs come much more frequently, building to a brilliantly bonkers dance routine that is hilarious and will leave you unable to keep a straight face whenever you next hear Space Oddity.

Even with some flashes of brilliance and a stellar cast, One Giant Leap doesn’t quite reach the starry heights it’s aiming for.

Lyric theatre, Shaftsbury Avenue – until 8 September 2019

Reviewed by Alex Sykes

5*****

Most people dread going to the theatre when the audience is mainly small children but The Gruffalo is worth the trip.

Currently on at the Lyric theatre, The Gruffalo tells the story of a mouse (Rebbeca Newman) on the hunt for a nut to eat which is hidden in the deep dark woods. Along the way she meets a fox, an owl and a snake (all played by Jake Addley), all who want to eat the mouse. The mouse manages to convince the animals not to eat her as she is actually on her way to meet the Gruffalo, whom she describes to each animal in turn. All is well for the mouse, until she meets the Gruffalo.

A special mention must be given to Elliot Rodriguez who not only narrated the show but plays the Gruffalo as well.

The set is fun, with the fox hole, the owls tree and the snakes log pile all there for the children to see and recognise from the book and with a bit of imagination the ponds and rivers are there as well. The set works well to cover any traces of Thriller which is on in the evenings. The costumes also work well, with Addley having a basic outfit to which different accessories are used to become either the fox, the owl or the snake.

With lots of catchy songs, an amazing set and lots of audience participation, this is a fun show for all the family.