With such an award-winning and talented cast, writer and director Poppy Burton-Morgan could not fail. The result is a high energy, roller coaster ride, through a musical, modern twist on the classic tale of The Wind in The Willows. We have the additional back story for Mole (Victoria Boyce) which gives the storyline pace and depth.
The individual characters are distinctive and each one is important to the story. The strong and dependable presence of Badger (Clive Rowe) as the school teacher, earthed the production, whilst Toad (Harry Jardine) is the troubled youth who has everything and nothing. The speed of Jardine’s rapping increases to an insane level as the story progresses. He brings chaos and humour and is a believable lovable rogue. Mole (Victoria Boyce) is his opposite, with a secret, troubled past and a soulful voice that reaches right into your heart. The cast is like a well-oiled wheel, performing as one, singing with one voice, dancing as one ensemble.
The Creative Team have to be commended for the way British Sign Language is an integral part of the performance. It adds a grace and flow to the movement of the cast. The use of posed shapes and styles in the production are a feast for the eyes. The cast move with such ease it belies how difficult the synchronicity of their dances is.
If you want a feel-good factor show for the whole family, this is it. The professionalism of the cast is an inspiration to any would-be actor of the future.
Grand Opera House York – until Saturday 8th June 2019
Reviewed by Michelle Richardson
3***
Based on the quirky 2006 film, Little Miss Sunshine follows the Hoover family on their quest to reach California, from Albuquerque, in order for the young daughter Olive to participate in a beauty pageant of the same name. No mean feat, as this entails travelling across country in their dilapidated camper van.
The story is fundamentally a road trip with a dysfunctional family. We have dad Richard (Gabriel Vick), who after losing his job, is positive he has a book deal coming his way. Mother Sheryl (Lucy O’Byrne), trying to hold it all together. Uncle Frank (Paul Keating) is visiting his sister after slitting his wrists. Grandpa (Mark Moraghan), who can only be described as an aged teenager, coke-snorting, porn loving, cap on back to front and lewd comments aplenty. Son Dwayne (Sev Keoshgerian), stroppy to say the least, who is now in his 85th day of not speaking, using his mobile phone to frantically type out anything he wants to communicate. All of them end up accompanying Olive (Lily Mae Denman), this role is played by three different actresses on this tour, on her trip to California, as no one can be left behind because of various issues. What ensues are a variety of disasters, one after another, but somehow, through resilience, the family manage to push through.
The iconic yellow campervan is portrayed here using a revolving stage, kitchen chairs and a platform. At times it worked, but at the same time it was underwhelming. What worked for me was the physical scenes, the attempts at push starting the bus and when the family were running and weaving around in their mission to get back once this has been accomplished.
The stands out for me were, Grandpa’s sex song is hilarious and of course Olives pageant talent performance is worth a mention, though was missing the crawling on all fours from the film. Another standout was Imelda Warren-Green’s performance as Miss California, the parody of the beauty contestant was just fabulous. You couldn’t fault the cast at all.
There were a few parts of the show that I really enjoyed but ultimately the show lacked oomph. The songs were not memorable enough, didn’t pack a punch, which they should be doing, after all this is a musical. A shame really, as the promise of so much more was there to be had.
Actor and comedian Nigel Planer will star as Grandpa in the first ever stage adaptation of Grandpa’s Great Escape, the exhilarating number one best-selling children’s book by David Walliams which will tour UK arenas this Christmas. Tickets are on sale now
Best known for playing Neil in the much loved BBC2 cult comedy The Young Ones, Nigel has worked extensively in TV, film and radio throughout his illustrious 40-year career. He is also certainly no stranger to the stage, with theatre credits including Charlie and the Chocolate Factory, Hairspray, Chicago, Wicked and We Will Rock You.
Nigel Planer said: “It’s a great honour to be asked to play Grandpa in the live version of this amazing and cockle-warming story by David Walliams. It’s set to be such an amazing spectacular and I can’t wait to drive a tank and fly a life-size Spitfire over audiences around the country!”
The live version of the kids’ favourite, which has sold over two million copies around the world begins in Birmingham on 23 December. It will then visit London, Sheffield, Nottingham, Manchester, Newcastle and Glasgow before culminating in Liverpool on 4 January
Grandpa’s Great Escape Live follows the acclaimed television film which aired on BBC One in December 2018, and will be directed by double Olivier Award winner and Tony® Award nominee Sean Foley (The Catherine Tate Show Live & The Painkiller). Grandpa’s Great Escape is the eighth book by Walliams and was published in September 2015 by HarperCollins Children’s Books.
The wonderous stage design for Grandpa’s Great Escape Live will see arenas around the UK transformed into London and its landmarks, including Buckingham Palace and the River Thames, from thousands of feet in the sky, as Grandpa’s life size Spitfire soars through the air. The set for this multi-million pound production has been created by Stufish Entertainment Architects (Cirque du Soleil, Beyonce & Jay Z, Madonna, The Rolling Stones). The script adaptation of the book has been written by Kevin Cecil (Little Britain & Gangsta Granny television film). Casting for the show will be announced soon.
Grandpa’s Great Escape, which has been translated into 39 languages received a wealth of glowing reviews with the Evening Standard declaring Walliams as “the new Roald Dahl”, while The Times describe the story as “a beguilingly funny, original and thought-provoking tale… hilarious”.
Many years ago, Grandpa was a World War II flying ace. But when he is sent to old folk’s home Twilight Towers – run by sinister Matron Swine – it’s up to Grandpa and his grandson, Jack, to plot a daring escape. Little do they know, the wicked matron is on to them.
Tickets are available online, from the booking hotline number 0844 493 6666 or from 11.00am in person from the Utilita Arena Box Office. Please note venue facility and booking fees will apply.
Grandpa’s Great Escape Live 2019 UK Tour
Monday 23 December Birmingham: Arena Birmingham 4.00pm & 7.00pm
Tuesday 24 December Birmingham: Arena Birmingham 1.00pm & 4.00pm
Thursday 26 December Birmingham: Arena Birmingham 4.00pm & 7.00pm
Friday 27 December London: The SSE Arena, Wembley 4.00pm & 7.00pm
Saturday 28 December London: The SSE Arena, Wembley 4.00pm & 7.00pm
Sunday 29 December Sheffield: FlyDSA Arena 4.00pm & 7.00pm
Monday 30 December Nottingham: Motorpoint Arena 4.00pm & 7.00pm
Wednesday 1 January Manchester: Arena 4.00pm & 7.00pm
Thursday 2 January Newcastle: Utilita Arena 4.00pm & 7.00pm
Friday 3 January Glasgow: The SSE Hydro 4.00pm & 7.00pm
Saturday 4 January Liverpool: M&S Bank Arena 4.00pm & 7.00pm
Bridgewater Hall, Manchester- Tuesday 4th June 2019.
Reviewed by Joseph Everton.
5*****
Opera North always bring something fresh and exciting to their productions and this spin on Verdi’s Aida, the work of designer Joanna Parker, director Annabel Arden and distinguished conductor, Sir Richard Armstrong, impresses with a number of interesting twists. The cast, including a familiar face in Rafael Rojas, delivered stellar vocals which thundered into every corner of the impressive Bridgewater Hall.
After beating back the Ethiopian army, Radames (Rafael Rojas), an Egyptian general, is confronted with the choice between love of his country or the beautiful Ethiopian, Aida (Alexandra Zabala), in one of Opera North’s new large scale works, tailored to showings in concert venues, rather than theatres. With the orchestra taking centre stage, released from the pit of a conventional theatre, and the chorus almost part of the watching crowd, Aida was a real feast for both the eyes and the ears.
Projections added depth to the performance, drawing your eyes to scenes of modern conflict and cities devastated by war splashed across a distressed changing cloth. These images, which might have been scenes from middle eastern war zones, were combined with projections of Aida’s despairing facial expressions, filmed by a cleverly-placed onstage camera.
Bridgewater Hall is a large space to fill but the exceptional vocals of the cast, combined with the excellent orchestra and the ever present chorus, playing citizens of the warring states, filled the hall with drama and wonderful sound
Every musical theatre fan has one – and for me it’s Annie. I’m talking about the musical that sparked the obsession with all things musical. Growing up as a child in the early 1980s, I have fond memories of choosing a video from the village rental store one rainy weekend, along with my older sister and having a mini meltdown because she chose the 1982 movie Annie – because it wasn’t a cartoon! Flash forward to the present day, Annie still has a special place in my heart but it wasn’t until this evening I got to experience it live on stage for the first time.
You’ll laugh when I tell you how nervous I was beforehand – it almost felt like watching your grownup daughter walk down the aisle for the first time – I wanted everything to be perfect and not taint my childhood memories of the musical.
The title role is shared by three young actresses, this evening being lead by Taziva-Faye Katsande (along with Team Chrysler forming the rest of this hard-faced, no nonsense orphans), whom despite the Hard Knock Life mantra the grimacing scowls from the young orphans faces soon to to huge grins along with foot stomping mop moving flawless choreography – it almost gives one the impression that it’s not such a hard knock life after all….well that is until we meet the cold hearted drunken Miss Hannigan (Craig Revel Horwood) who runs Hudson Street Orphanage.
Whilst not someone I’d have thought to be in the role of Miss Hannigan, anyone who has ever seen Horwood on Strictly Come Dancing – often perceived as the cold hearted judge, it sort of makes sense why he was cast. Being the “baddy” is something that comes naturally to Horwood (I mean that in the nicest way possible) so I was of course particularly excited about seeing him in this role. Whilst he certainly added a comical feel to the role, proving himself as a dancer in Easy Street (which for me was one of the highlights of this production) I actually didn’t find him scary or unlikeable enough – I remember fearing Carol Burnett in the 1982 movie – she was fierce, cruel and had me reaching for a cushion to hide behind. The orphans feared her, however these orphans seemed far too tough and independent to fear the likes of Hannigan drunken shenanigans.
Katsande (in the title role) along with the six orphans gave flawless infectious performances – at times I felt the urge to get up and dance along with their hard-as-nails attitudes – the seven young girls with their perfectly in sync high energy dance routines and sickly sweet vocals – almost feel like an up and coming girl band. I look forward to seeing their careers in theatre develop with Katsande and Orla McDonagh as cute and lovable Molly – the youngest orphan – being names I particularly look forward to seeing more of on stage in future.
There’s fine efforts across the entire cast – Richard Meek as Rooster and Jenny Gayner as Lily – the fraudsters and gold-digging duo desperate to get their mitts on the reward money – Rooster, Lily and Hannigan come together to hatch the perfect plan to fool Annie and Warbucks and claim the reward. The trio’s rendition of Easy Street was my favourite part of the performance. After waiting a few years since first seeing Carolyn Maitland in Miss Saigon, I was finally able to see her in a leading role as the lovable Grace Farrell, Secretary (and love interest) to Billionaire Oliver Warbucks and certainly wasn’t disappointed, it’s fair to say she gave a show stealing performance.
I was always curious as to how it would transfer to stage from the movie (forgetting it was actually a Broadway musical prior to being adapted for screen), I won’t spoil it by saying how they’d got round certain scenes, plus several songs missing from the film replaced with “new” ones (gutted Let’s Go To The Movies was one of the missing ones), however the magic of the musical is still there and for a couple of hours I was whisked back to my childhood and my first introduction to musicals – it’s true what they say – you never forget your first!
You can bet your bottom dollar that the cast of Annie will leave you feeling well and truly fully dressed with a smile. The ultimate feel good musical for the entire family.
Summer Nights have never been such a blast as the first new production in 25 years of Grease rock ‘n’ rolls in to Leeds Grand Theatre from Wednesday 19th June to Sat 20 July 2019.
Following a highly acclaimed sold-out eight-week run at Curve Theatre in Leicester, the first new production of Jim Jacobs and Warren Casey’s iconic musical Grease is produced by Colin Ingram, directed by Nikolai Foster,choreographed by Strictly Come Dancing’s Arlene Phillips and stars Peter Andre and Ore Oduba as Teen Angel (played by Frankie Avalon in the 1978 film), Dan Partridge as Danny, Martha Kirby as Sandy, Louis Gaunt as Kenickie and Rhianne-Louise McCaulsky as Rizzo.
Director Nikolai Foster said: “Jim Jacobs and Warren Casey’s musical is an electrifying celebration of the birth of cool and teenage culture. It provides a gripping snapshot of a country on the cusp of social change, all set to one of the greatest rock ‘n’ roll scores ever written.
“This cast are going to blow audiences’ minds with their edge, life-force and sheer exuberance. Just as the 1950s kids who heralded the birth of the teenage movement, these talented young people will breathe new life into this terrific musical.”
The 1978 film adaptation starring John Travolta and Olivia Newton John is the fourth highest-grossing live action musical of all time and celebrated its 40th anniversary in 2018. The musical features beloved songs, including Summer Nights, Greased Lightnin’, Hopelessly Devoted To You and You’re The One That I Want.
Choreographer Arlene Philips said, “I’m so thrilled to have the opportunity to choreograph a new production of Grease. This production is going to be edgy, vibrant and certainly takes a new look at this very exciting musical.”
Grease is at Leeds Grand Theatre from Wednesday 19 June – Saturday 20 July 2019
Book online at leedsgrandtheatre.com or call Box Office on 0844 848 2700
David Mamet’s new play Bitter Wheat begins previews at the Garrick Theatre in London this Friday 7 June 2019.
John Malkovich plays Barney Fein, Doon Mackichan plays Sondra and Ioanna Kimbook plays Yung Kim Li withAlexander Arnold as Roberto, Teddy Kempner as Doctor Wald, Matthew Pidgeon as The Writer and Zephryn Taitte as Charles Arthur Brown.
Malkovich, one of the world’s most revered actors, is best known for his many films including Dangerous Liaisons, Being John Malkovich, Con Air and Mulholland Drive. He recently received widespread critical acclaim playing Hercule Poirot in a new BBC TV Agatha Christie adaptation.
The Pulitzer prize winning David Mamet has written some of the most iconic plays of the last 50 years includingSexual Perversity in Chicago, American Buffalo, Glengarry Glen Ross, Speed-the-Plow, and Oleanna.
Doon Mackichan, who is well known for her extensive TV work which includes creating and starring in the hit comedy series Smack the Pony for Channel 4, Knowing Me, Knowing You with Alan Partridge, Plebs for ITV2 andTwo Doors Down for the BBC, will play Barney Fein’s assistant, Sondra.
Ioanna Kimbook makes her debut West End performance in Bitter Wheat. Ioanna recently filmed an episode of the BBC comedy, Inside No. 9.
Alexander Arnold’s recent theatre credits include Shopping and F***ing at the Lyric Hammersmith, Crushed Shells and Mud at Southwark Playhouse, and Luna Gale and Four Minutes Twelve Seconds at Hampstead Theatre. For film, he will appear in Danny Boyle’s Yesterday and is in the TV BAFTA nominated and RTS Award-winning drama series, Save Me for Sky Atlantic. Further television credits include E4’s Skins and A Mother’s Son.
Teddy Kempner’s extensive theatre work includes Caroline, or Change at the Playhouse, Hampstead Theatre and Chichester Festival Theatre, A Month in the Country and Six Pictures of Lee Miller in Chichester and The Merry Wives of Windsor, Three Sisters and Nicholas Nickleby for the RSC. His films include Truly Madly Deeplyand Yentl.
Matthew Pidgeon’s theatre credits include Local Hero and The Glass Menagerie at the Lyceum Theatre, Edinburgh; This House in Chichester West End and on tour, Wolf Hall and Bring up the Bodies for the RSC andThe James Plays for the National Theatre of Scotland. Films include Mary Queen of Scots, State and Main andA Shot of Glory.
Zephryn Taitte has just completed a major tour of Glengarry Glen Ross. Other theatre includes Trust at the Gate Theatre, Result at the Pleasance Theatre, The Tempest and Romeo and Juliet at Oval House and Talawa’s production of The Crucible. His films include No Shade, Dirty Money, Run it Off and White. TV credits includeCall the Midwife, Urban Myths, The Hour and Brothers With No Game.
David Mamet directs Bitter Wheat, with designs by Christopher Oram and lighting by Neil Austin.
Bitter Wheat is produced by Jeffrey Richards, Steve Traxler and Smith & BrantTheatricals.
Originally Produced on Broadway by Roger Berlind Roger Horchow, Daryl Roth, Jane Bergere, Ted Hartley and Center Theatre Group. American Premiere Produced at The Ahmanson Theatre by Center Theatre Group, LA’s Theatre Company.
OPENING AT CHURCHILL THEATRE BROMLEY ON 4 OCTOBER 2019
Dan Looney, Adam Paulden and Jason Haigh-Ellery for DLAP Entertainmentare delighted to announce full casting for the UK tour of the Tony award winning musical “CURTAINS” which stars the previously announced Jason Manford as Detective ‘Frank Cioffi’.
Joining Jason will be television presenter and ‘Strictly Come Dancing’ star Ore Oduba who will play ‘Aaron Fox’ in selected venues, full details below.
Completing the cast is musical theatre actress Carley Stenson as ‘Georgia Hendriks’, Rebecca Lock as ‘Carmen’, Samuel Holmes as ‘Christopher Belling’, Leah West as ‘Niki Harris’ and Alan Burkitt as ‘Bobby’.
Ore is best known for winning the 14th series of BBC One’s ‘Strictly Come Dancing’ and has now become a familiar face on primetime and daytime television. His presenting credits include BBC One’s, ‘The One Show’ and ITV’s ‘This Morning’. Ore previously appeared as a host on stage for the “Strictly Come Dancing Live Tour” and will be making his theatrical debut as ‘Teen Angel’ in the UK Tour of “Grease” later this month.
Carley is currently starring as ‘Fantine’ in “Les Misérables”, at the Queens Theatre in London’s West End. Her other West End credits include ‘Elle Woods’ in “Legally Blonde” at The Savoy Theatre, ‘Princess Fiona’ in “Shrek the Musical” at Theatre Royal Dury Lane and ‘Lady of the Lake’ in “Spamalot” at The Playhouse Theatre. She has also played ‘Christine Colgate’ in the UK Tour of “Dirty Rotten Scoundrels”. Carley is probably best known for her television work and playing ‘Steph Cunningham’ in Channel Four’s “Hollyoaks”.
Rebecca Lock most recently starred in “Heathers The Musical” at the Haymarket Theatre in London. Her other West End credits include “MAMMA MIA!” at The Novello Theatre, “The Phantom of the Opera” at Her Majesty’s Theatre, and “Cats” at New London Theatre. Rebecca also starred as ‘Mrs Banks’ in the national tour of “Mary Poppins”.
Samuel Holmes most recently starred in the UK tour of “The Wedding Singer”. Samuel’s West End credits include “Mrs Henderson Presents” at Noël Coward Theatre and “Spamalot” at Playhouse Theatre.
Leah West previously starred in Disney’s Film ‘Beauty and the Beast’ and ITV drama ‘Unforgotten’. Her previous theatre credits include “Grand Hotel” and “Allegro” both at Southwark Playhouse and the UK Tour of “The Smallest Show On Earth”.
Alan Burkitt was in the original West End Cast of “Top Hat” at the Aldwych Theatre and then went on to play the lead role of ‘Jerry’ in the UK national tour. Alan’s other theatre credits include, “We Will Rock You” at the Dominion Theatre “Singin’ in the Rain” and ”42nd Street” both at Chichester Festival Theatre.
They are all joined by Emma Caffrey as ‘Bambi’, Adam Rhys-Charles as ‘Daryl Grady’, Martin Callaghan as ‘Oscar Shapiro’, Minal Petal as ‘Johnny Harmon’ and Mark Sangster as ‘Sidney’.
Joining them in the ensemble is, Kathryn Barnes, Pamela Blair, Charlie Johnson, Kate Ivory Jordan, Robin Kent, Thomas Lee-Kid, Ben Mundy, Gleanne Purcell-Brown, J.R. Ballantyne and Samuel John-Humphreys.
From the Tony Award-winning creators of ‘Cabaret’ and ‘Chicago’, this production tells the story of Jessica Cranshaw, star of the new Broadway-bound musical Robbin Hood, who has been murdered on stage on opening night! The entire cast and crew are suspects. Time to call in the local detective, Frank Cioffi, who just happens to be a huge musical theatre fan. With a nose for crime and an ear for music, Frank has his work cut out trying to find the killer whilst giving the show a lifeline.
The producing team is made up of Dan Looney, Adam Paulden and Jason Haigh-Ellery for DLAP Entertainment. The production was originally produced on Broadway by Roger Berlind, Roger Horchow, Daryl Roth, Jane Bergere, Ted Hartley and Center Theatre Group. The American Premiere was produced at The Ahmanson Theatre by Center Theatre Group, LA’s Theatre Company.
Music is by John Kander, lyrics by Fred Ebb (“Cabaret” and “Chicago”), book by Rupert Holmes, original book and concept by Peter Stone with additional lyrics by John Kander and Rupert Holmes.
The production will be directed by Paul Foster (“Kiss Me Kate” and “Annie Get Your Gun” for Sheffield Crucible), choreographer is Alistair David (“Ghost” West End and UK tour and “Seven Brides for Seven Brothers” and “The Sound of Music” both for Regent’s Park Open Air), Musical Supervisor & Arrangements are by Sarah Travis(Curve Associate Artist, “Sweeney Todd”, “Sister Act”), Set Design by David Woodhead, Costume Design byGabriella Slade, Lighting Design by Tim Mitchell, Sound Design is by Tom Marshall and Casting Director isJim Arnold CDG.
Tim Rice and Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat has been entertaining and captivating audiences since it opened in London’s West End in the 1970s. Since then the musical has gone from strength from strength with West End revivals and many international and national tours. Joseph has been reputed as a colourful and family friendly show.
Set to Rice’s lyrics and Lloyd Webber’s music, the musical is based on the biblical story of Joseph (Jaymi Hensley) and tied with the “coat of many colours”, a garment Joseph was given to by his father, Jacob (Henry Metcalfe). The musical retells the story of Joseph and his eleven brothers and how the plight of his coat and dreams leads him to slavery in Egypt and how his interpretation of dreams results in rank and fortune. Those events have an influential impact on his brothers whose jealous actions in the first place have initiated the predicaments.
The musical is predominately song based and the performance is sung through from beginning to end with the backing of a children’s choir who are assembled on stage throughout. The narrator (Trina Hill) begins sharing the story of Joseph with the children where she encourages them to dream like him. She subsequently interacts at key stages in the story and serves as a mediator/mentor to Joseph (Hensley) especially during his captivity.
Joseph over the years certainly keeps afresh with the times and with catchy familiar musical styles including Rock and Roll, Pop, Country, Calypso, Parisian and Cabaret forming the songs. Many know the infamous Any Dream Will Do and the emotive Close Every Door. The outstanding musical numbers must be from Andrew Geater’s portrayal of Elvis like Pharaoh with Song of the King and Judah (Mikey Jay-Heath) and the brothers’ Benjamin Calypso.
Outstanding are the excellent and captivating portrayals from Hill as the narrator and Hensley (a member of Union J, a London based boy band) as Joseph. The lead performers are supported by an incredible and a talented cast who entertains and engages the audience with song and dance and no doubt aspire many to dream like Joseph. The “Joseph Megamix Reprises” is certainly the showstopper highlight with a medley of musical numbers which the musical is well known and loved for and the finale certainly guarantees maximum interaction from the well receiving and appreciative audience.
The team of Sean Cavanagh, Nick Richings and Dan Samson have created modern, colourful and kaleidoscopic staging for this production which echoes the spirit of the story and in tuned with the modern times. Although the account of Joseph is ancient it is felt that the telling of this story, under the direction of Bill Kenwright, definitely fits nicely in the 21st Century.
A musical of many colours and a very enjoyable evening out!
Laura-Doe sets out to educate through entertainment, labelling it edutainment. Walking us through the mechanics of female genitalia, she encourages audience participation in a way I guarantee you have not experienced before! All this without any nudity and using biologically correct Vulva cushions and a puppet theatre!
She cleverly dispels myths and provides the real facts, including how to pleasure yourself or your female partner. Through several characters and adopting a variety of accents, we are taken through the perspectives of different cultures and their attitudes to the Vulva. There are no doubt awkward moments for most people with an English sensibility and Doe’s humour gets you through this. The relationship between education and entertainment is a little clunky, as Doe clearly wants to get her message across. More passion in the humour would balance this out.
The Creatives use of pre-recorded voices and backing tracks is delivered without fault and keeps the momentum going, allowing the Vulva cushions to speak! Using familiar songs and rewriting the words is a great way to engage the audience.
It is impressive the ease with which Doe uses ‘taboo’ language, that we do not usually include in open conversation. Doe is a gutsy lady with a real belief in what she is doing. You are encouraged to join the Vulvalation! Go along and expect the unexpected, including laughing and learning together.
Like most comedy, there is an underlying serious note. In this case FGM. Go to Doe’s website http://www.vaudevilleofthevulva.com for more information about the work of the Desert Flower Foundation and where you can see her important, relevant, funny show.
