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THEATR CLWYD ANNOUNCES HOMECOMING OF CRITICALLY ACCLAIMED HOME, I’M DARLING,

A MAJOR CO-PRODUCTION WITH MENIER CHOCOLATE FACTORY, AND TWO WORLD PREMIÈRES FOR 2019

 

Theatr Clwyd today announces new work for 2019. Following its previously announced West End transfer, Artistic Director Tamara Harvey’s smash hit production of Laura Wade’s Home, I’m Darling, will return home to Theatr Clwyd for the final week of April – in a co-production with the National Theatre and Fiery Angel. Also opening at the company’s home base is a major revival of Tennessee Williams’ Orpheus Descending – in a first-time co-production with London’s Menier Chocolate Factory. Following performances in Wales Tamara Harvey’s production transfers to the Menier Chocolate Factory.

April sees the world premiere of Jacqueline Wilson’s Wave Me Goodbye adapted for the stage by award-winning playwright Emma Reeves, following the huge success of her recent stage version of Hetty Feather. This also sees a homecoming for Reeves, who returns to the theatre having been a member of the Theatr Clwyd Youth Theatre in her childhood.

Later this year, to commemorate the 150^th anniversary of the Mold Riots, the company will re-create the story of the riots in a large-scale community production. The Mold Riots, written by Bethan Marlow and directed by Katie Posner, will lead its audience through the streets.

Highlights of the visiting programme include Malorie Blackman’s Noughts and Crosses adapted by Sabrina Mahfouz (19 – 23 February), Rain Man by Dan Gordon 25 February – 2 March), Marie Jones’ Stones in his Pockets (7 – 11 May) and John Brittain’s Rotterdam (3 – 5 June). Also Ian McKellen brings his solo show in celebration of his 80^th birthday – Ian McKellen on Stage: with Tolkien, Shakespeare, Others and YOU – to Mold (18-19 March), with all proceeds being generously donated by McKellen to Theatr Clwyd. Further details of the 2019 season will be announced shortly

Artistic Director Tamara Harvey said today, “It has been an extraordinary and transformative year for the company, both in terms of ambition and reach – we have staged 15 own produced shows, 10 of which were world premières, culminating in a UK Theatre Award for The Assassination of Katie Hopkins, and now a West End transfer for Evening Standard Award-nominated Home, I’m Darling before it comes home to Wales. Next year will see us in a first-time collaboration with London’s award-winning Menier Chocolate Factory with Tennessee Williams’ Orpheus Descending; and as part of our commitment to younger audiences Emma Reeves comes home to adapt Jacqueline Wilson’s Wave Me Goodbye, their latest collaboration after the huge success of the stage version of Hetty Feather. Later this year sees our first large-scale community production with The Mold Riots during the 150^th anniversary year. As we continue to build, it’s wonderful to see our homegrown work reach new audiences across the UK.”

 

www.theatrclwyd.com
Twitter: @ClwydTweets
Facebook.com/TheatrClwyd  

 

 

A Theatr Clwyd and Menier Chocolate Factory co-production

ORPHEUS DESCENDING
by Tennessee Williams 

15 – 27 April 2019

9 May – 6 July Press Night 15 May at 8pm

Director: Tamara Harvey

Lady is trapped in a loveless marriage, surrounded by intolerant people, living a boring small-town life. But when a wild-eyed charismatic drifter appears a new life of love and passion suddenly seem possible. Everything will change as certainty, conformity and tradition are ripped apart.

Tennessee William’s Deep South American drama is directed by Theatr Clwyd’s Artistic Director Tamara Harvey.

 

Tennessee Williams (1911 – 1983) was one of the greatest American playwrights. His principal works include A Streetcar Named Desire (Pulitzer Prize), The Glass Menagerie (New York Critics’ Circle Award), The Rose Tattoo(Tony Award for Best Play), Cat on a Hot Tin Roof (Pulitzer Prize), Suddenly Last Summer, Sweet Bird of Youth, Orpheus Descending and The Night of the Iguana (New York Critics’ Circle Award).

 

Tamara Harvey has been Artistic Director of Theatr Clwyd since August 2015. Her inaugural production for the company was Much Ado About Nothing, followed by the première of Elinor Cook’s award-winning play, Pilgrims, Skylight by David Hare and the première of Peter Gill’s version of Uncle Vanya (Best Production and Best Director in the English Language at the Wales Theatre Awards). Most recently she directed the première of Home I’m Darling by Laura Wade – which has been nominated for UK Theatre and Evening Standard Awards and transfers to the West End in 2019 before returning to Clwyd. Tamara has directed in the West End, throughout the UK and abroad, working on classic plays, new writing, musical theatre and in film. Her previous credits include the world premières of From Here To Eternity (Shaftesbury Theatre), Breeders(St James Theatre), The Kitchen Sink, The Contingency Plan, Sixty-Six Books and tHe dYsFUnCKshOnalZ! (Bush Theatre), In the Vale of Health (a cycle of four plays by Simon Gray), Elephants and Hello/Goodbye (Hampstead Theatre), and Plague Over England (Finborough Theatre & West End). Other theatre includes Kreutzer vs Kreutzer (Sam Wanamaker Playhouse/Royal Festival Hall), Bash (Trafalgar Studios), Whipping It Up (New Ambassadors), One Flew Over The Cuckoo’s Nest (Gielgud & Garrick Theatres), Educating Rita (Menier Chocolate Factory & Theatre Royal Bath) and Pride and Prejudice (Sheffield Theatres).

Theatr Clwyd present the world première of

WAVE ME GOODBYE

By Jacqueline Wilson

Adapted by Emma Reeves

23 April – 4 May 2019

Press night: 25 April at 1pm

 

Director Christian Patterson

 

September, 1939. As the Second World War begins, ten-year-old Shirley is sent away on a train for ‘a little holiday’. Shirley is billeted in the country to live in the strange, deserted Red House with the mysterious and reclusive Mrs Waverley. Here, alongside two boys from Liverpool, Kevin and Archie, Shirley’s life will change forever.

A new adaptation of bestselling author Jacqueline Wilson’s moving story, directed by Christian Patterson. 

 

Jacqueline Wilson is one of Britain’s most popular authors, selling over 38 million books in the UK alone. Her most successful and enduring creation is the Tracy Beaker series. In 2002 she was awarded the OBE for services to literacy in schools and in 2008 she became Dame Jacqueline Wilson. In the same year she became the Foundling Museum’s first Coram Foundling Fellow. From 2005 to 2007 she was the Children’s Laureate. Her recent titles include Opal Plumstead and Katy and My Mum Tracy Beaker.

 

Emma Reeves is an award-winning writer working across screen and stage. Her TV credits include The Worst Witch (Lead Writer), Eve (Lead Writer and co-creator), The Dumping Ground, Young Dracula, The Story of Tracy Beaker, Belonging, The Murder of Princess Diana (Lifetime Channel), Spirit Warriors and Doctors. Her stage work includes her acclaimed adaptation of Jacqueline Wilson’s Hetty Feather (national tour and West End 2014, and 2015-2016, Olivier nominated and CAMEO Award winner), Carrie’s War, Little Women, Cool Hand Luke and The Snow Child. Reeves has won Best Children’s TV Episode at The Writers Guild Awards twice – in 2016 for Eve and in 2017 for an episode of The Dumping Ground. Other awards include an RTS Best Children’s Drama for her Tracy Beaker Returns episode, an RTS North East award for Best Children’s Programme for her Dumping Ground episode, an RTS Scotland Award for Best Children’s Drama for Eve and Doctor Who Magazine Favourite Audio Drama awar2016 for Forgotten Lives. In October 2016 two of her episodes from the Dumping Ground and Hetty Feather were nominated for a Children’s BAFTA for Best Drama. In November 2017, her episode of Hetty Feather was nominated for a Broadcast Award for Best Children’s Programme. In 2018 she become one of 18 selected for BAFTA Elevate- a scheme made for advancing the career of experienced writers.

Christian Patterson directs. He scripts his debut panto Dick Whittington for Theatr Clwyd this year, having written award-winning pantomimes at other venues across the UK. As an actor his credits for the company include The Rise and Fall of Little Voice, Insignificance, All My Sons and Under Milk Wood. Other credits include The Way of the World (Donmar Warehouse), My Country (National Theatre), Blackbird (The Other Room) and Plays in a Bag – The Knowledge (Royal Court Theatre). His television credits include My Country, Ellen and Mr Selfridge; and for film, Pride and Malice in Wonderland. He won the Best Actor honour at the Wales Theatre Awards in 2016.

Age recommendation: 5 years +

Theatr Clwyd present the world première of

THE MOLD RIOTS

By Bethan Marlow

21 – 26 October

Director Katie Posner

One of Wales’ forgotten dark days is brought to life in this large-scale production with both a community and professional cast.

 

Summer, 1869. Seven miners stand trial for allegedly attacking the colliery manager after defending their right to use the Welsh language and protesting a pay cut. Now a crowd has assembled to hear the verdict, did they commit the crimes they’re accused of? A guilty verdict for all results in the quiet town of Mold erupting with violence. Stones will be thrown and blood will be shed but will this bring them any closer to winning their fight for justice?

More information will be released in early 2019.

Bethan Marlow’s site-specific interactive theatre productions, in collaboration with the LGBT community of Swansea, include “A Queer Christmas”, Mess Up The Mess, with the residents of a council estate in North Wales C’laen ta! (Theatr Genedlaethol Cymru), and her first verbatim play Sgint (Theatr Genedlaethol Cymru). Her other work includes From Land to Mouth (Pentabus), Cysgu’n Brysur (Arad Goch, Aberystwyth Arts Centre and WMC), Ar Waith ar Daith (Walk the Plank), PyC (S4C/BBC Wales), A Place Called Home (Birmingham Rep), The Beach (National Theatre Wales) and Such Tweet Sorrow (Royal Shakespeare Company). Marlowe was selected as one of four Welsh writers on the talent scheme ‘Y Labordy’. She received a Creative Wales Award to explore the possibility of the “audience as co-creators of theatre” and won the first “Straeon Iris” competition (an Iris Prize/S4C/Ffilm Cymru and Bfi Net.wok initiative) which culminated in the short film Afiach (Sick) which premièred at the Iris Prize Film Festival this year.

Katie Posner directs. She was the Associate Director of Pilot Theatre, York, for eight years, where she directed multiple national and international touring productions. Her 2017 national tour of Made in India (Tamasha, Belgrade Theatre, Pilot Theatre) was nominated for an Off West End award, and won the Eastern Eye Theatre and Culture Award for Best Production. Recent productions include Swallows and Amazons (new adaptation by Bryony Lavery) for Storyhouse Chester, Babe for Mercury Colchester, Bridget Foreman’s Everything is Possible: The York Suffragettes at York Theatre Royal and Finding Nana by Jane Upton for New Perspectives. Posner has also directed productions for Northern Stage, Tron Theatre, Live Theatre and Out of Joint amongst many others.

 

Listings

Theatr Clwyd

Raikes Lane, Mold CH7 1YA

Box Office: 01352 701521 www.theatrclwyd.com/en/

 

DICK WHITTINGTON – THE PURRRRRFECT ROCK ‘N’ ROLL PANTO

Anthony Hopkins Theatre

23 November 2018 – 19 January 2019

Press night: 27 November 7pm

 

HANSEL & GRETEL: FAIRYTALE DETECTIVES

Emlyn Williams Theatre

14 December – 6 January

Press night: 18 December 7pm

 

ORPHEUS DESCENDING
Anthony Hopkins Theatre

15 – 27 April 2019

WAVE ME GOODBYE

Emlyn Williams Theatre

23 April – 4 May 2019

Press night: 25 April at 1pm

 

HOME I’M DARLING

Anthony Hopkins Theatre

30 April to 4 May

 

THE MOLD RIOTS

21 – 26 October

 

LONDON

HOME, I’M DARLING

Duke of York’s Theatre

26 January – 13 April 2019

press night: 5 February

www.homeimdarling.co.uk

Box Office: 0844 871 7623

 

ORPHEUS DESCENDING
Menier Chocolate Fatory

9 May – 6 July

Press night: 15 May 8pm

Box Office: 020 7378 1713

www.menierchocolatefactory.com

HOME, I’M DARLING ON TOUR

Theatre Royal, Bath                                                    
Tuesday 16 – Saturday 20 April 2019

www.theatreroyal.org.uk

Box Office 01225 448844

Tickets on sale from: 29 November

The Lowry, Salford
Tuesday 23 – Saturday 27 April 2019

www.thelowry.com

Box Office: 0843 208 6000

Tickets on sale from: 16 November         

              

DARLINGTON HIPPODROME ONE YEAR ON

Saturday 17 November marks the first anniversary of the opening of Darlington Hippodrome following a multi-million pound restoration.

As the famous song from the musical Rent assures us, there are 525,600 minutes in a year and Darlington Hippodrome has filled each and every one of those minutes in the last year amassing several large numbers of its own since the venue re-opened after an 18 month restoration project.

In the last 12 months a total of 358 performances have taken place on the Hippodrome stage with 162,851 tickets sold. In the various bars and the new Hippo Lounge there have been 16,179 coffees drunk, 2,535 locally baked scones devoured, 42,384 ice creams scoffed and 21,784 pints of beer/cider enjoyed.

The last year has also seen 6542 historical items catalogued as part of the on-going archiving of theatrical memorabilia such as posters, programmes and press cuttings dating back to the theatre’s original opening back in 1907.

A number of top-drawer theatrical stars have graced the Hippodrome stage in the last year including Lee Ryan, Phil Daniels, Jimmy Osmond, Stefanie Powers, Joe Pasquale, Susie Blake, Ruby Wax, Pam Ayres, Jane McDonald, Cannon & Ball, Belinda Laing and Ray Quinn with several more star names set to appear in the Spring 2019 season, starting with Louie Spence and Zoe Birkett in the festive family pantomime, Aladdin.

Drop in for yourselves to see what a difference a year can make. The Hippo Lounge is open from 10am every day serving drinks and snacks and also offers free Wi-Fi and charging sockets for phones and laptop computers.

For full information on all the shows at Darlington Hippodrome visit www.darlingtonhippodrome.co.uk

Design a cover competition winner

Every year the Grand Opera House York runs a competition with all the local schools to design the cover of our panto programme.  This year the winner is Maisie Smart age 7 from Hempland School in York.

This year’s spectacular pantomime is Cinderella and The Lost Slipper, starring Michelle Heaton (Liberty X) and Amy Thompson (Milkshake).  There will be lots of surprises, hilarious comedy, fabulous sets and costumes and a magical flying horse and carriage.  The panto runs from 14 December until 5 January 2019.

Box office: 0844 871 3024

Online: www.atgtickets.com/york

An Evening With Sir Michael Parkinson:

The Nations Favourite Interviewer Relives Historic And Iconic Moments From His Remarkable Career

Grand Opera House York

Tuesday 19 February 2019

Sir Michael Parkinson, a true broadcasting legend and certified national treasure, will celebrate some of the defining moments of his tenure as one of the most recognisable and widely sought after interviewers of the 20th and 21st centuries, by hosting a series of shows at theatres throughout the UK this Autumn.

In conversation with his son Mike and showing highlights from the Parkinson archive, these new theatre shows will provide a unique opportunity to get an intimate, entertaining and informative look at Sir Michael’s remarkable journey from humble upbringings in a Yorkshire mining town, to becoming one of the most familiar faces on television, whilst reliving the greatest events from a show that for many defined their Saturday night.

In a career spanning several decades, Sir Michael Parkinson was responsible for interviewing over 2000 of the most important figures of our time, including Nelson Mandela, Marlon Brando and Mohammed Ali, to name but a few of the plethora of individuals who have shaped our cultural landscape.

Universally known for his inimitable demeanour, Sir Michael Parkinson’s gift for drawing insightful and often revelatory information from his subjects became addictive viewing, his conversations consistently reflecting the true personalities of all those with whom he came face to face with.

From those famously awkward situations to poignant and emotional unveilings, Sir Michael’s theatre tour will see him both recount and breathe new life into these critical junctures, as well as turning the spotlight on to the man himself, highlighting his relationships with friends, family and colleagues along the way.

Tickets from £24.00

Box office: 0844 871 3024

Online: www.atgtickets.com/york

BOLSHOI BALLET IN CINEMA PRESENTS

THE CHRISTMAS CLASSIC

BROADCAST LIVE FROM MOSCOW INTO CINEMAS ACROSS THE UK

As part of the 2018/19 Bolshoi Ballet in cinema season the company presents the quintessential Christmas ballet, The Nutcracker.  A festive tradition for the whole family, the timeless Christmas classic The Nutcracker is broadcast live from the Bolshoi stage for two hours of enchantment and magic on 23 December 2018.  This is Bolshoi Ballet’s first live broadcast of The Nutcracker since 2014.

It is Christmas Eve and the magician Drosselmeyer gives Marie a Nutcracker doll as a Christmas present. As night falls the Christmas tree begins to grow, mice appear and all is not as it seems. Marie’s Nutcracker doll magically transforms into a prince taking them both on a wonderful adventure. The Nutcracker leads the toy soldiers into battle and with Marie’s help slays the Mouse King, breaking the curse. Marie recognises the prince as Drosselmeyer’s nephew. Together they journey to the Land of Sweets and are greeted by the Sugar Plum Fairy. They regale their tale of the battle and there is a celebration.

This traditional story along with Tchaikovsky’s cherished score, Yuri Grigorovich’s choreography, the Bolshoi’s Principals, Soloists and the accomplished Bolshoi Corps de Ballet this promises to be the perfect pre-Christmas treat for the whole family.

The 2018/19 Bolshoi Ballet in cinema season showcases some of ballet’s greatest classical works performed by the world’s finest dancers creating a unique cinematic experience. Four classical ballets (La Sylphide, Don Quixote, La Bayadère and The Sleeping Beauty) will be shown on the big screen alongside the beloved Christmas tale The Nutcracker. The evocative 1920’s jazz ballet The Golden Age and Edward Clug’s latest choreographic work Petrushka alongside Carmen Suite completes the season.

To discover where you can experience the magic of the Bolshoi in your local cinema go to http://www.bolshoiballetcinema.co.uk/

Churchill Theatre – until 24 November 2018.

Reviewed by Elizabeth J Smith

5*****

One of my great pleasure’s growing up was having a story read to me at bed time. All wrapped up in my cosy duvet protected from the world while listening to the melodic tones of the story teller. Taking me on a journey to sleep land. Congratulations Churchill Theatre, that was the emotion you evoked last night with your production of Dr Dolittle.

The show opens with Polynesia, the parrot, appearing from the book and introducing us to this incredible tale of the failed human doctor who really wanted to administer his medical skills to the welfare of animals. How much easier that would be if he could talk to the animals?

Tom Piper, set and costume design, made each new scene feel like another turn of the page. The simplicity of the surroundings and props made you focus on the characters, which was so important especially with the animals.

Nick Barnes, puppet designer and Jimmy Grimes, puppet director made these animals come to life, with the skill of the puppeteers who captured minute details of how each animal behaves and moves across the stage, brilliant. With favourites being the Pushmi Pullyu, Dr Dolittle’s dog, the pig and the sea lion. But congratulations to all the animals which were all excellently portrayed.

Vicky Entwhistle was not only the amazing 200 year old voice of Polynesia, she was also one of the puppeteers that flew the parrot around the stage, three of them at some points.

Mark Williams portrayed the slightly bumbling but ever so loveable Dr Dolittle. Showing his contempt for some humans and great affection for all animals.

Adele Anderson, Lady Bellowes/Poison Arrow, had the audience booing as the villain of the piece.

Brian Capron, Albert Blossom, the circus owner looking to make a fast buck, could believe his eyes when first seeing the Pushme Pullyu and Straight Arrow, the explorer wanting to save the rarest of animals on the floating island of Sea Star.

The young romantic leads Mollie Melia-Redgrave, Emma Fairfax and Patrick Sullivan, Mathew Mug, sang beautifully together. Mathew had a skip in his step like a true, cheeky Irish man. Elliot Morris, Tommy Stubbins, conveyed the sense of adventure any young lad would have going on such an adventure with such a crowd of humans and animals.

As we come to the close of the show and finally see the Giant Pink Sea Snail and the legendary Luna Moth, you could hear the audience gasp.

As we celebrate the centenary of the First World War it was also a fitting time to revive the story of the failed human doctor who learnt to talk to the animals, as the story was written by Hugh Lofting in letter form, to his children while in the trenches.

Great songs, great dancing and with the reassurance of a happy ending, I left the theatre ready for bed and a trip to dreamland. With the lesson learnt we should all be kinder to each other and all the animals.

FURTHER DATES ANNOUNCED FOR THE

UK AND IRELAND TOUR OF

CAMERON MACKINTOSH’S

ACCLAIMED PRODUCTION OF

“LES MISÉRABLES”

PLYMOUTH THEATRE ROYAL – 11 JUNE – 6 JULY 2019
BRADFORD ALHAMBRA – 9 JULY – 10 AUGUST 2019

LIVERPOOL EMPIRE – 9 – 26 OCTOBER 2019

AND

WALES MILLENNIUM CENTRE CARDIFF

26 NOVEMBER 2019 – 4 JANUARY 2020

Cameron Mackintosh announced today further dates for the UK and Ireland tour of his acclaimed production of the Boublil and Schönberg musical “LES MISÉRABLES”. In addition to the previously announced dates, the musical will also play Plymouth Theatre Royal (11 June – 6 July 2019), Bradford Alhambra (9 July – 10 August 2019), Liverpool Empire (9 – 26 October 2019) and Wales Millennium Centre Cardiff (26 November 2019 – 4 January 2020). Full tour schedule below with more to dates to be announced.

Since Cameron Mackintosh first conceived this new production of “Les Misérables” in 2009 to celebrate the show’s 25^th anniversary it has taken the world by storm. Originally touring the UK throughout 2009/10, and concluding with 22 performances at the Barbican, this production was hailed by audiences and critics alike.

Now this UK and Ireland tour, embraced by modern audiences across the globe as a Les Mis for the 21^st century, is set to sell out in many places before it opens. The Curve Leicester run sold out in record-breaking time, with last remaining seats in Dublin, Edinburgh and Manchester.

This production inspired the hugely successful movie version starring Hugh Jackman, Anne Hathaway and Eddie Redmayne. This brilliant new staging has scenery inspired by the paintings of Victor Hugo,and has to date already been seen in North America, Brazil, Mexico, Korea, Japan, Canada, Australia, Spain, France, Manila, Singapore, Dubai and Broadway.

Boublil and Schönberg’s magnificent score of “LES MISÉRABLES” includes the songs, “I Dreamed a Dream”, “On My Own”, “Stars”, “Bring Him Home”, “Do You Hear the People Sing?”, “One Day More”, “Empty Chairs at Empty Tables”, “Master Of The House” and many more.  Seen by over 120 million people worldwide in 52 countries and in 22 languages, “LES MISÉRABLES” is undisputedly one of the world’s most popular musicals.

Cameron Mackintosh’s production of “LES MISÉRABLES” is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and original adaptation by Trevor Nunn and John Caird. The original “LES MISÉRABLES” orchestrations are by John Cameron with new orchestrations by Christopher Jahnke, Stephen Metcalfe and Stephen Brooker. The production is directed by Laurence Connor and James Powell, designed by Matt Kinley inspired by the paintings of Victor Hugo with costumes by Andreane Neofitou and Christine Rowland, lighting by Paule Constable, sound by Mick Potter, musical staging by Michael Ashcroft and Geoffrey Garratt, projections by Fifty-Nine Productions and music supervision by Stephen Brooker and Graham Hurman. The London Production of “LES MISÉRABLES” continues to play at the Queen’s Theatre where it is currently booking until 29 June 2019.

LES MISÉRABLES UK AND IRELAND TOUR 2018/2019 – lesmis.com

SATURDAY 3 – SATURDAY 24 NOVEMBER 2018

CURVE, LEICESTER

curveonline.co.uk – 0116 242 3595

SOLD OUT

WEDNESDAY 5 DECEMBER 2018 – SATURDAY 12 JANUARY 2019

BORD GAIS ENERGY THEATRE, DUBLIN

bordgaisenergytheatre.ie – +353 (1) 677 7999

TUESDAY 22 JANUARY – SATURDAY 16 FEBRUARY 2019

FESTIVAL THEATRE, EDINBURGH

capitaltheatres.com – 0131 529 6000

TUESDAY 19 FEBRUARY – SATURDAY 30 MARCH 2019

MANCHESTER PALACE THEATRE

atgtickets.com/venues/palace-theatre-manchester – 0844 871 3019

TUESDAY 2 APRIL – SATURDAY 11 MAY 2019

BIRMINGHAM HIPPODROME
birminghamhippodrome.com – 0844 338 5000

TUESDAY 14 MAY – SATURDAY 8 JUNE 2019
MILTON KEYNES THEATRE
atgtickets.com/venues/milton-keynes-theatre – 0844 871 7652

TUESDAY 11 JUNE – SATURDAY 6 JULY 2019

PLYMOUTH THEATRE ROYAL

Theatreroyal.com – 01752 267 222

ON SALE 30 NOVEMBER 2018

TUESDAY 9 JULY – SATURDAY 10 AUGUST 2019

BRADFORD ALHAMBRA

Bradford-theatres.co.uk – 01274 432000

ON SALE 30 NOVEMBER 2018

THURSDAY 15 AUGUST – SATURDAY 5 OCTOBER 2019

NEWCASTLE THEATRE ROYAL

theatreroyal.co.uk – 0844 11 21 21

WEDNESDAY 9 OCTOBER – SATURDAY 26 OCTOBER 2019

LIVERPOOL EMPIRE

atgtickets.com/venues/liverpool – 0844 871 3017

ON SALE 30 NOVEMBER 2018

 

TUESDAY 26 NOVEMBER 2019 – SATURDAY 4 JANUARY 2020

WALES MILLENNIUM CENTRE CARDIFF

Wmc.org.uk – 029 20 63 6464

ON SALE 26 NOVEMBER 2018

The Lowry, Salford – until 16th November 2018.

Reviewed by Joseph Everton

5*****

During the second of two intervals we met Barbara, an operaphile who informed us that stating that you ‘didn’t like opera’ was very much like saying you ‘didn’t like film’ as, from one performance to the next, it could be so very different. She told me that if I was going to give the opera a try, this performance would be a good place to begin. It pained me to admit that I couldn’t share her sentiments as, with my apologies to the opera purists, I accepted the invitation to review Edward Dick and Opera North’s modernisation of Puccini’s ‘Tosca’ at the Lowry with little to no knowledge of opera, having never been to one before. I might have hated it but all I can write is that when Cavaradossi (Rafael Rojas) sang, his death seemingly certain, that he hadn’t ever enjoyed being alive as much, I really felt like I knew where he was coming from. The whole performance was an utter joy.

The sights and smells of the first act were enchanting and accompanied by a beautifully melodic score. I was transfixed by the orchestra, conducted by Antony Hermus, and could happily have listened to them alone. Cavaradossi and Tosca (Giselle Allen) played charming artist and Rome’s star opera singer in a dramatic tale of love, jealousy and corruption. Tosca’s uncontrollable jealousy was used by the terrible Baron Scarpia (Robert Hayward), who was later booed off stage by a thoroughly entertained audience, to hunt down Cavaradossi and the escaped prisoner he was harbouring, Cesare Angelotti (John Savournin). Expressions of love were beautiful and soaring; moments of pain and grief were gripping and driven by a powerful score. The plot moved quickly, leaping from one moment of drama to the next, and three acts drew to a conclusion in a tear-filled blink of an eye.

Lee Curran’s warming lighting cast a Mediterranean glow on Tom Scutt’s eye-catching set which brought a modern twist to Renaissance Rome. The chorus of Opera North, as they sang together, was a sensory delight, filling the Lowry with sound. On reflection, now that I am of course a lover of the opera, I really think Barbara had it right. Tosca was a delight.

Tosca is on at the Lowry, Salford this week only, until Friday 16th November. Whether you’re an opera expert or a novice to this kind of theatre, I urge you to see it.

Bunker Theatre 12th & 19th November

Reviewed by Claire Roderick

4****

Monkhead Theatre certainly relish a challenge. Adapting Freud’s The Interpretation of Dreams would be enough to make companies sweat, but Chloë Myerson and Nico Pimparé appear to have thought, “Hey! Let’s go the extra mile and create a rapid response night!”

This ambitious approach, with four writers contributing short pieces on different sections of the book, pays of brilliantly, creating an admittedly confusing but entertaining show. The pieces are linked by Tom Blake, Martha Owen and Joshua Jacob acting as comperes whilst dealing with their own complicated feelings and relationships. Josh Field’s film and the accompanying narration creates a mesmeric, dreamlike state as the concept of the theatre being the conscious mind and unruly audience members being repressed thoughts that are thrown out to the unconscious mind (the theatre bar), along with other, colder, definitions from Freud are presented.

I don’t know much about Freud or psychology, but even I picked up on the main themes. The use of movement and sound adds to the soothing, yet unsettling rhythm of the text and it never feels like a celebration of the cleverness of the creative team – rather we are all exploring this together.

There were two standout performances, one from Finlay Paul as a grieving man coming to terms with the guilt he felt after the death of his brother in Can’t You See That I’m Burning? by Chloë Myerson (also the piece of writing that was the most emotionally engaging): Paul captured the torment and guilt of grief brewing under the determinedly cheerful but increasingly thinning veneer of cheerfulness wonderfully. Joshua Jacob also impressed with his slightly goofy and puppyish enthusiasm heightening the energy when themes could spiral into despair. Even his ultimate disappointment draws pantomime “awwws”, such is his easy connection with the audience.

This isn’t an easy watch – it’s thoroughly entertaining but concentration is needed, and even then, there will be moments of wondering what the hell is going on, but that seems wonderfully appropriate for The Interpretation of Dreams.