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Churchill Theatre Bromley – until Saturday 28 July 2018

Reviewed by Elizabeth J Smith

5*****

From West End to Rainbow Tour

Evita first opened in the West End in 1978, 40 years ago, and made a star of Elaine Paige. It tells the story of a poor illegitimate child, Eva Duarte, who dreamed of stardom, she achieved more than anyone would imagine.

After leaving home and arriving in Buenos Aires she forges a career as an actress and radio star. After a devastating earthquake hits the town of San Juan, Eva attends a charity concert and meets, the also ambitious, Colonel Juan Domingo Peron. Together they rise through the military and social ranks to become Argentina’s President and First Lady.

Eva’s philanthropy earned her the love of the people, while behind the scenes she was feathering her own nest by laundering money through her charity. Her life was cut short at the age of 33 when she died of cancer. She remains, more than a half a century after her death, an icon.

Lucy O’Byrne did a superb job portraying this champion of the people, her excellent vocal range and superb diction meant you could follow the story with ease. Her acting skills also left you in not doubt that there was an ambitious side to Eva, using any method to get ahead or dismiss any rival in her way without a second glance. Her rendition of Don’t Cry for me Argentina stirred real emotion from the audience, combined with the beautiful gown she wore and the simple set made this a show stopper moment.

Mike sterling who played Eva’s husband and president of Argentina Juan Peron, also delivered a stunning performance. With his deep velvety vocals and reserved military feel, his performance only proved how different the characters were and why their relationship was often frowned upon. I’d be so good for you demonstrating how their symbiotic relationship served them both.

Che, the narrator of the story, played by Glenn Carter, open with Oh what a circus expresses his disdain for the couple. Glenn’s facial expressions and reactions as the story unfolds left you in no doubt how Che felt about the situation.

Christina Hoey, the mistress, performed Another Suitcase In Another Hall with such emotion it made my spine tingle. Beautifully sung Oscar Balmaseda, Magaldi, portrayed the slightly seedy night club singer with style and humour.
The company created all the sections of society, upper classes, lower classes and military with excellent choreography by Bill Deamer, with the regimented movement of the military, the stiffness of the upper classes and the Tango feel of the people.

The show moved at a great pace, with effortless scene changes and wonderful costumes. The whole performance evoked real emotion from the audience.
Eva Peron’s fear was that she would be forgotten but while Evita can enthral audiences as this one did her name will live on.

KING’S HEAD THEATRE’S

REVIVAL OF KEVIN ELYOT’S FIRST PLAY

COMING CLEAN

TRANSFERS TO LONDON’S WEST END NEXT YEAR

PLAYING TRAFALGAR STUDIOS 2

FROM 9 JANUARY TO 2 FEBRUARY 2019

NATIONAL PRESS NIGHT FRIDAY 11 JANUARY 2019

The King’s Head Theatre, Making Productions Limited and Joe C Brown are delighted to announce the West End transfer of Kevin Elyot’s Coming Clean. Adam Spreadbury-Maher, Artistic Director of the King’s Head Theatre, will direct the production, which will run at Trafalgar Studios 2 from 9 January to 2 February 2019, with a national press night on Friday 11 January 2019.

In 2017, Adam Spreadbury-Maher directed the 35^th anniversary production and the first London revival of Coming Clean, Kevin Elyot’s first play.  The play premiered at the Bush Theatre on 3 November 1982. Coming Clean looks at the breakdown of a gay couple’s relationship and examines complex questions of fidelity and love.

The play is set in a flat in Kentish Town, north London, in 1982.  Struggling writer Tony and his partner of five years, Greg, seem to have the perfect relationship.  Committed and in love, they are both open to one-night stands as long as they don’t impinge on the relationship.  But Tony is starting to yearn for something deeper, something more like monogamy.  When he finds out that Greg has been having a full-blown affair with their cleaner, Robert, their differing attitudes towards love and commitment become clear.

In his foreword to Kevin Elyot: Four Plays (Nick Hern Books, 2004), Elyot writes, “From 1976 to 1984 I’d acted in several productions at the Bush Theatre, and Simon Stokes, one of the artistic directors, had casually suggested I try my hand at a play.  I presented them with a script entitled Cosy, which was passed on to their literary manager Sebastian Born.  He responded favourably and, largely through his support, it finally opened on 3 November 1982 under the [new] title Coming Clean.”

Written 12 years before his most famous play, My Night With Reg, Coming Clean won Elyot the Samuel Beckett Award for writers showing particular promise in the field of the performing arts.

Theatre critic Michael Coveney wrote of Elyot in his obituary for The Guardian in 2014, “In writing about the human heart and the art of living… Elyot transcended categorisation and produced a small body of stage plays that will reward revival, and not just as period pieces.”  Coveney goes on to describe Coming Clean as “an elegiac play about sexual relationships at a time when Aids was still a barely credible rumour in Britain, but there was a sense of foreboding in the final scene.” 

Director Adam Spreadbury-Maher (recent King’s Head Theatre productions include the European premiere of Tommy Murphy’s Strangers in Between, La Bohème and Trainspotting) will be joined by set designer Amanda Mascarenhas (An Unknown Place, Ovalhouse Theatre, 2016) and lighting designer Nic Farman (Shock Treatment, La Bohème, Così fan tutte, Madam Butterfly, and F*cking Men for the King’s Head Theatre). 

Coming Clean is being produced in the West End by Kings Head Theatre, Making Productions Limited and Joe C Brown.

LISTINGS INFORMATION

9 January – 2 February 2019

Trafalgar Studios 2

14 Whitehall

London

SW1A 2DY

Performances: Monday-Saturday 7.45pm*, Thursday & Saturday 3pm (*7pm on Friday 11 January)

Ticket Prices: from £25 (previews: all tickets £15)

Box Office: 0844 871 7632

Website: www.atgtickets.com/venues/trafalgar-studios

‎Twitter: @KingsHeadThtr

Facebook: www.facebook.com/kingsheadtheatre

Instagram: @kingsheadtheatre

A Royal & Derngate, Northampton, Birmingham Repertory Theatre and Northern Stage co-production in association with Liverpool Everyman & Playhouse

WORLD PREMIÈRE
The Lovely Bones
By Alice Sebold
Adapted by Bryony Lavery
Directed by Melly Still

• ALICE SEBOLD’S GLOBAL BEST-SELLING BOOK, THE LOVELY BONES, IS BROUGHT TO LIFE ON STAGE FOR THE FIRST TIME

• THE LOVELY BONES RECEIVES ITS WORLD PREMIÈRE IN A CO-PRODUCTION BETWEEN BIRMINGHAM REPERTORY THEATRE, ROYAL & DERNGATE  AND NORTHERN STAGE IN ASSOCIATION WITH LIVERPOOL EVERYMAN & PLAYHOUSE

• ADAPTED BY BRYONY LAVERY, DIRECTED BY MELLY STILL AND COMMISSIONED BY BIRMINGHAM REPERTORY THEATRE

• DESIGNED BY ANA INÉS JABARES-PITA WITH ORIGINAL MUSIC COMPOSED BY DAVE PRICE, LIGHTING DESIGN BY MATT HASKINS AND SOUND DESIGN BY HELEN SKIERA

• CHARLOTTE BEAUMONT TO PLAY SUSIE SALMON, IN A CAST INCLUDING PETE ASHMORE, EMILY BEVAN, BHAWNA BHAWSAR, SUSAN BOVELL, NATASHA COTTRIALL, KEITH DUNPHY, KARAN GILL, JACK SANDLE AND AYOOLA SMART

The full cast and creative team have been confirmed for the world première of The Lovely Bones, one of the best-selling novels of the 21^st century. Adapted for the stage by Bryony Lavery from Alice Sebold’s story and directed by Melly Still, it will open at Royal & Derngate, Northampton on 1 September 2018 before transferring to partner theatres Everyman Liverpool, Northern Stage, Newcastle and Birmingham Repertory Theatre. The show will also tour to The New Wolsey Theatre, Ipswich.

Alice Sebold’s coming-of-age tale captured the hearts of readers throughout the world when it was first published in 2002. An unforgettable story about life after loss, The Lovely Bones achieved critical acclaim and became an international best-seller. It won the Indies Choice Book Award for Adult Fiction 2003.

The Lovely Bones tells the story of young Susie Salmon, who is just like any other girl. She wants to be beautiful, adores her charm bracelet and has a crush on a boy from school. There’s one big difference though – Susie is dead. Susie can only observe while her family cope with their grief in their different ways. Her father, Jack, is obsessed with identifying the killer. Her mother, Abigail, is desperate to create a different life for herself. And her sister, Lindsay, is discovering the opposite sex with experiences that Susie will never know. Susie is desperate to help them and there might be a way of reaching them.

In the 10-strong ensemble cast, the part of Susie Salmon will be played by Charlotte Beaumont, well known for her role as Chloe Latimer in TV series Broadchurch, with recent theatre credits includingThree Winters at the National Theatre. Jack Salmon will be played by Jack Sandle (War Horse, National Theatre; Running Wild, UK tour), Emily Bevan (The Haunting of Hill House, Liverpool Everyman & Playhouse) as Abigail Salmon, with Ayoola Smart (Othello, Unicorn Theatre; The Taming of the Shrew, Shakespeare’s Globe) as sister Lindsay. Kevin Dunphy (The Rivals, Bristol Old Vic) takes the role of Mr Harvey. The cast is completed by Pete Ashmore as Len Fenerman/Samuel, Bhawna Bhawsar as Ruana Singh/Franny, Susan Bovell as Lynn/Cop/Mrs Flanagan, Natasha Cottriall as Ruth Connors/Buckley Salmon and Karan Gill as Ray Singh/Principal Caden.

Playwright Bryony Lavery’s acclaimed work includes the Tony Award-nominated Frozen (revived in the West End in spring this year), Stockholm (Frantic Assembly), Kursk (Young Vic) and Beautiful Burnout (National Theatre of Scotland and Frantic Assembly). Her other adaptations include A Christmas Carol (Birmingham Repertory Company), Treasure Island (National Theatre), Brideshead Revisited (York Theatre Royal/ETT) and most recently Brighton Rock (Pilot Theatre).

Bringing The Lovely Bones to life on stage is director Melly Still, whose credits include the acclaimed Olivier and Tony Award-nominated production of Coram Boy (National Theatre and Broadway), My Beautiful Friend (Rose Theatre Kingston) and several recent productions for Glyndebourne, the National Theatre and the Royal Shakespeare Company.

The production is designed by Ana Inés Jabares-Pita whose credits include Wish List (Royal Exchange and Royal Court) and The Driver’s Seat (National Theatre of Scotland), with lighting design by Matt Haskins (Death of a Salesman, Royal & Derngate UK tour; Turn of the Screw, Opera North), sound design by Helen Skiera (Instructions for Correct Assembly, Bodies, Royal Court) and movement direction by Mike Ashcroft (The Christmas Truce, Henry IV parts 1 & 2, RSC). Music will be composed by Dave Price whose original scores include From Morning to Midnight (National Theatre) and Cymbeline (RSC).

#LovelyBones18

Listings Information:

Royal & Derngate, Guildhall Road, Northampton NN1 1DP
National Press Night: Friday 7 September at 7.45pm
Dates: Saturday 1 to Saturday 22 September 2018
Times: Evenings 7.45pm (except Wednesday 5 September 7pm)
Matinees – Thursday and Saturday 2.30pm (excl. Saturday 1 September)
No performances on Sundays
Tickets: From £11*
Box Office:  01604 624811 or online at www.royalandderngate.co.uk
* A charge of £3 applies for all transactions of £15 and over. Does not apply to Groups, Friends or Disabled Patrons, and is per-transaction, not per-ticket.

Everyman Liverpool, Hope Street, Liverpool L1 9BH
Dates: Tuesday 25 September to Saturday 6 October 2018
Press Night: Wednesday 26 September
Tickets: Tickets from £10
Box Office: 0151 709 4776 or online at www.everymanplayhouse.com

Northern Stage, Barras Bridge, Newcastle upon Tyne, NE1 7RH
Press Night: Tuesday 9 Oct, 7.30pm
Dates: Tuesday 9 October until Saturday 20 October 2018
Times: Evenings 7.30pm, Thursday 11 October, 6pm
Matinees Wednesday 10,Saturday 13 & Saturday 20 October 2pm
No performances on Sundays
Tickets from £10
Box Office:  0191 230 5151 or online at www.northernstage.co.uk

Birmingham Repertory Theatre, Centenary Square, Broad Street, Birmingham
B1 2EP
Dates: Tuesday 30 October until Saturday 10 November 2018
Times: 7.30pm Monday – Saturday, apart from 7pm on Wednesday 31 Oct.  Matinees at 2pm on Thursday 1, Saturday 3, Thursday 8 and Saturday 10 November
Tickets: From £10 (subject to availability)
Box Office: 0121 236 4455 or online at www.birmingham-rep.co.uk

New Wolsey Theatre, Civic Drive, Ipswich IP1 2AS
Dates: Tuesday 13 November until Saturday 17 November 2018
Times: 7pm Tuesday, 7.45pm Wednesday to Saturday, 2.30pm Matinees Wednesday 14, Thursday 15 and Saturday 17 November
Tickets: From £10 (subject to availability)
Box Office: 01473 295900 or online at wolseytheatre.co.uk

Royal & Derngate, Northampton

JIM STEINMAN’S AWARD-WINNING

BAT OUT OF HELL – THE MUSICAL

EXTENDS BOOKING PERIOD

AT THE DOMINION THEATRE, LONDON

UNTIL 5 JANUARY 2019

Jim Steinman’s Bat Out Of Hell – The Musical will be extending into 2019, with a new booking period at the Dominion Theatre from 27 October 2018 to 5 January 2019 going on sale at 12.00noon today, Thursday 26 July 2918.  The winner of the Evening Standard Radio 2 Audience Award for Best Musical 2017 began previews at the Dominion Theatre on Monday 2 April, with a gala performance on 19 April 2018.

The cast of Bat Out Of Hell – The Musical at the Dominion Theatre is led by Andrew Polec, winner of the Joe Allen Best West End Debut in the Stage Debut Awards 2017, as Strat and Christina Bennington as Raven, with Rob Fowler as Falco and Sharon Sexton as Sloane.  Also starring are Alex Thomas-Smith as Tink, Danielle Steers as Zahara, Wayne Robinson as Jagwire, Giovanni Spanó as Ledoux and Patrick Sullivan as Blake.  At certain performances, the role of Strat will be played by Simon Gordon or Jordan Luke Gage.  Patrick Sullivan will leave the London company on Saturday 1 September and Ryan Andersen will be joining as the new Blake.  Also in the cast are Kyle Anthony, Emily Benjamin, Christopher Cameron, Georgia Carling, Natalie Chua, Jonathan Cordin, Rob Copeland, Hannah Ducharme, Isaac Edwards, Collette Guitart, Eric Hallengren, Vicki Manser, Rhianne-Louise McCaulsky, Aston Newman Hannington, Eve Norris, Joseph Peacock, Kyle Roberts, Craig Ryder, Dawnita Smith, Courtney Stapleton, Julie Stark, Charlotte Anne Steen and Sam Toland.

Bat Out Of Hell – The Musical wowed critics and public alike when it played limited seasons at Manchester Opera House, London Coliseum and Toronto’s Ed Mirvish Theatre in 2017, and has been seen by over 650,000 people to date.  A new production opens in Toronto for a three-week engagement this autumn as the first stop in a multi-city North American tour.

In April 2018, Bat Out Of Hell – The Musical announced a wide-ranging global partnership to support the Invictus Games Foundation, the governing body of the Invictus Games, a global sporting event for wounded, injured and sick servicemen and women, both serving and veterans.

Bat Out Of Hell became one of the best-selling albums in history, selling over 50 million copies worldwide.  16 years later, Steinman scored again with Bat Out Of Hell II: Back Into Hell, which contained the massive hit I Would Do Anything For Love (But I Won’t Do That).

For the stage musical, the legendary and award-winning Jim Steinman has incorporated iconic songs from the Bat Out Of Hell albums, including You Took The Words Right Out Of My Mouth, Bat Out Of Hell, I Would Do Anything For Love (But I Won’t Do That) and Two Out Of Three Ain’t Bad, as well as two previously unreleased songs, What Part of My Body Hurts the Most and Not Allowed to Love.

Jim Steinman’s Bat Out Of Hell – The Musical is a romantic adventure about rebellious youth and passionate love, set against the backdrop of a post-cataclysmic city adrift from the mainland.  Strat, the forever young leader of The Lost, has fallen for Raven, daughter of Falco, the tyrannical, ruler of Obsidian.  

Bat Out Of Hell – The Musical has book, music and lyrics by Jim Steinman, direction by Jay Scheib, choreography by Emma Portner, with musical supervision and additional arrangements by Michael Reed, set design by Jon Bausor, costume design by Jon Bausor and Meentje Nielsen, video design by Finn Ross, lighting design by Patrick Woodroffe, sound design by Gareth Owen, orchestration by Steve Sidwell, casting by David Grindrod CDG, fight direction by Stuart Boother and musical direction by Robert Emery.

Jim Steinman’s Bat Out Of Hell – The Musical is produced by David Sonenberg, Michael Cohl, Randy Lennox & Tony Smith.

Website:  www.BatOutOfHellMusical.com

Twitter & Facebook:  @BatTheMusical

LISTINGS INFORMATION

Jim Steinman’s Bat Out Of Hell – The Musical

Dominion Theatre

268-269 Tottenham Court Road

London W1T 7AQ

Performances:  Mon-Sat at 7.30pm, Wed & Sat matinee at 2.30pm (N.B.  Performances will be at2.00pm & 8.00pm on Saturday 8 September)

Tickets:  from £15.00

Box Office:  0845 200 7982

Current Booking Period:  to 5 January 2019

Running Time:  2 hours 40 minutes (including interval)

Christmas 2018/19 Performance Schedule

Mon 17 December – 7.30pm

Tue 18 December – 7.30pm

Wed 19 December – 2.30pm & 7.30pm

Thurs 20 December – 7.30pm

Fri 21 December – 7.30pm

Sat 22 December – 2.30pm & 7.30pm

Mon 24 December – No Show

Tue 25 December – No Show

Wed 26 December – 7.30pm

Thurs 27 December – 2.30pm & 7.30pm

Fri 28 December – 2.30pm & 7.30pm

Sat 29 December – 2.30pm & 7.30pm

Mon 31 December – 7.00pm

Tues 1 January – 7.30pm

Wed 2 January – 2.30pm & 7.30pm

Thurs 3 January – 2.30pm & 7.30pm

Fri 4 January – 7.30pm

Sat 5 January – 2.30pm & 7.30pm

Leicester Square Theatre – until 2nd September 2018

Reviewed by Elizabeth J Smith

4****

THE BEST WEDDING EVER
The Scarecrows Wedding follows a farmer who narrates the tale of his two scarecrows Harry O’ Hay and Betty O’ Barley, on their quest to fill their wedding list to have “the best wedding yet, no scarecrow will ever forget”.

The show opens with the characters meeting the audience and follows with a lively song. The music is provided by the cast members playing a variety of instruments throughout including the violin, banjo, guitar, accordion, box drum and mouth organ.

The farmer, Mark Kane, tells the tale and also provides the characters that the scarecrows encounter on their journey around the farm collecting the things on their list. The imagination in creating theses characters was genius, sock hand puppet for the geese, a space hopper for the toad and a ruck sack for the very slow and hilarious snail. Reginald Rake, the Spanish lothario, who tries to steal Betty’s heart, brings a great energy to the stage. With great expressions for all
the characters you could see the transformation from one to the other and the children laughed out loud, especially the snail.

The two scarecrows, Phillippa Hogg and Mathew Burns, were played to perfection expressing their true love for each other and their excitement at getting married, all while playing their instruments.

The scenery gave you the impression of open fields and farm yard chaos, with minor changes to create each new scene, even a pond.

My reviewing partner was my 7 year old niece who laughed, clapped and said the wedding dress was the best bit!

Highly recommend for an afternoon school holiday trip.

DELFONT MACKINTOSH THEATRES’ AMBITIOUS PROGRAMME OF STRUCTURAL IMPROVEMENTS AND RENOVATION CONTINUE.

Having recently completed the spectacular reinvention and restoration of the VICTORIA PALACE, which reopened with the smash hit musical HAMILTON, Delfont Mackintosh Theatres (DMT) are continuing the upkeep of their buildings by turning their attention to implementing a recommended programme of restorative works which will include strengthening and extending the life of the ceilings of its other theatres and completing the restoration of its auditoriums.

All but two of Delfont Mackintosh’s London theatres are now in their second century of continuous operation as public buildings and they contain some of London’s finest plaster work.  Over the past few years our theatres, along with many others in the West End, have been subjected to extensive surveys of their original fabric.  The results of our survey, undertaken by leading historic plaster and paintwork conservationist Richard Ireland and structural engineer Chris Boydell of Conisbee, have shown that work is now required to ensure these unique historic buildings will last another 100 years. This will necessitate that four of our five playhouses, all designed by the great Edwardian architect William Sprague, will each need to close for a period of two to four months to complete the necessary works within the next three years.

The first theatre to undergo these improvements will be the Wyndham’s commencing early next month. It will be followed by the Noel Coward and the Gielgud in 2019 and the Queen’s in 2019/20. At the Novello over 50% of the required work has already been completed and the remainder can be achieved without any loss of performances. The two other musical houses, the Prince of Wales and the Prince Edward, built in the 1930’s have both already had major reconstruction during the last 15 years and don’t require immediate works and will be dealt with at a later date when the hugely successful productions of THE BOOK OF MORMON and ALADDIN eventually complete their runs.

These theatre closures will take place between scheduled productions apart from the Queen’s, where LES MISERABLES, the world’s longest running musical continues to play to 95% capacity in its 33rd year. This Theatre also requires a major renovation backstage.  It has had little refurbishment since reopening in 1959 after bomb damage from the Second World War destroyed the entire Front of House and rear Auditorium.  As the extraordinary run of LES MISERABLES looks set to continue for many years to come, the closure will also allow an opportunity to restore Sprague’s original boxes and loges as well as improving other facilities.

Plans are being finalised to ensure that this legendary musical success will continue its run in the West End during the Queens Theatre closure and an announcement with these arrangements will be made in the autumn.

Cameron Mackintosh said, “Having just completed the hugely rewarding but very expensive restoration of the Victoria Palace, news of the timing of these works which are necessary to ensure that my other theatres will be in tip top condition for actors, producers and audiences, long after the final curtain has dropped on me, was not the most welcome.   There are major financial consequences, not just the considerable cost of the capital works, but the knock on costs of closing these theatres for several months will run into many millions of pounds. However, I love these buildings and luckily my success as a Producer has given me the resources to preserve their life for another 100 years – so that the show can go on and on and on!”

ROSS NOBLE

‘EL HABLADOR’

UK TOUR 2018

Q&A

Ross Noble likes to keep his fans on their toes. For more than 20 years the Geordie comedy wonder has been spinning spontaneous stand-up, regularly touring the globe and playing to packed houses.

In a Ross Noble show, the mischievous comic takes his audience on a meandering journey full of ridiculously funny stories, whimsical tangents and offbeat observations – and his unique brand of semi-improvised stand-up has won him a legion of fans.

But just when it feels like the 42-year-old comic’s career is becoming predictable, he steers into completely new territory. Quite literally, in the case of his Dave TV shows – ‘Freewheeling’ and ‘Off Road’ – that follow him on motorcycle adventures. But more recently in Mel Brooks’s West End musical, ‘Young Frankenstein’, which saw him nominated for an Olivier and win a WhatsOnStage Award for Best Supporting Actor in a Musical.

Now, Noble’s ditched the choreography and is back on the road with a brand new stand-up tour, ‘El Hablador’. I talked to him about Christmas albums, giant skulls and working with Mel Brooks.

This is your 16th UK tour, with 68 dates announced so far. After 20 years on the road, do you still enjoy travelling the country?

‘It would be hard work if I didn’t! Is that how many shows it is? That seems like a daft number – I’ll put on two extra dates, just to make it up to 70. But, yeah, I do still love it. The great thing about stand-up is you’re face-to-face with real people.’

You’ve said that when you started touring you ‘didn’t really live in the real world’. Has that changed?

‘When I started all I did was tour – I was just a vessel. I’ve got more of a balanced life now, but I can still retain the essence of being in the moment. I realised quite early on that stand-up can teach you everything you need to know about life, which is: have one eye on the future, and have one eye on the past, but live in the present.’

How would describe what your stand-up now compared to your early days?

‘When I started people said I was “surreal”, and that’s a bit of a lazy description, because it sort of implies that anyone could do it. Now, I think I take the building blocks of the real world and then stretch and manipulate them. It’s more like “magic realism” than “surrealism” – that’s the way I see it… And that’s the most pretentious thing I’ve ever said!’

You recently recorded a spoof magazine show for Radio 4. How did you find writing that compared to stand-up?

‘I enjoyed the discipline, and creating something that is incredibly detailed and precise. Some people get writer’s block, whereas once I get an idea of something I want to do, I just got for it.’

In your Dave TV show ‘Ross Noble: Off Road’, you put yourself and your motorbike through the gruelling Scottish Six Days Trial. Did you take much convincing to do it?

‘That was something that I was doing anyway! We went to the channel and said, “We’re doing this, shall we film it?” and they went, “Definitely!” Hopefully we can do another series. I’d like to, but we can only really do it if we can up the ante.’

On the opposite end of the spectrum, you recently showcased your singing talents in ‘Young Frankenstein’.

‘And my dancing! I was Olivier nominated, you know? But I don’t like to talk about it… [Laughs]’

How did you find working with a living comedy legend, Mel Brooks?

‘Mel was phenomenal. He constantly tinkers with everything, changing punchlines around, cutting entire scenes…’

He’s 92 now. Did he show any sign of approaching retirement?

‘Not at all. The last time I spoke to him he was talking about projects that he passionately wants to do. Even though he’s got this incredible body of work – and he’s aware of that, because he keeps reminding you that he’s a living legend – he’s not hung up on the big picture, he’s all about the detail. He’s just as bothered about the nuance of it all.’

After singing and dancing, how have you found transitioning back to solo stand-up?

‘It is nice to be doing it again, because I feel like I’m exercising different muscles – still comedy muscles, but different types of comedy muscles. On stage the transition’s been fine, but off stage it’s been a bit weird.’

Because you’re no longer part of an ensemble?

‘Yeah, but not just an ensemble, a real world-class team. Going back to being just me, making all the decisions – in one way it’s the ultimate freedom, but sometimes giving yourself a restriction can be quite liberating in itself.’

After an Olivier nom, have you thought about incorporating any songs into your other work?

‘What, like releasing a Christmas album? I’d like to do more musicals, if the right thing came along – I enjoy it. But just because you enjoy singing doesn’t necessarily mean you should. Though I do have a couple of ideas for things that are not quite musicals, but sort of musicals, which I’m working on, but I won’t say what because it’ll jinx it or something!’

That sounds wise. Something you can talk about, then, is ‘El Hablador’. What do you have in store?

‘I’ve got a giant inflatable skull on stage: its mouth fills up with smoke and I walk out of it!’

Outlandish inflatable sets have become a trademark of your stand-up shows. How did they start?

‘The sets have always been a bit “Spinal Tap”, there’s no need for them, it’s just funny to have these big, over-the-top creations on stage. People turn up and go, “Woah!” and then I don’t really mention it.’

Can you see yourself still working at 92, like Mel Brooks?

‘Having spent time working with Mel, I can, actually. Sure, he’s had more success than any other comic on the planet, so you could say, “Of course he’d still be going!” But I do look at him and think: there really is no reason to slow down.’

Ross Noble: El Hablador is on tour, Sep 9-Dec 14. www.rossnoble.co.uk.

Interview by Ben Williams.

LISTINGS INFORMATION:

September – December 2018

Recommended 15+

ROSS NOBLE EL HABLADOR TOUR SEPTEMBER-DECEMBER 2018

SEPTEMBER

SUNDAY 9TH GLASGOW THEATRE ROYAL 0844 871 7647

WEDNESDAY 12TH EXETER CORN EXCHANGE 01392 665938

THURSDAY 13TH YEOVIL OCTAGON THEATRE 01935 422 884

FRIDAY 14TH SALISBURY CITY HALL 01722 434434

SATURDAY 15TH SHANKLIN, IOW SHAKLIN THEATRE 01983 868000

SUNDAY 16TH BOURNEMOUTH PAVILLION 0844 576 3000

TUESDAY 18TH SWANSEA GRAND THEATRE 01792 475715

WEDNESDAY 19TH BARNSTAPLE QUEENS THEATRE 01271 324242

THURSDAY 20TH SHREWSBURY THEATRE SEVERN 01743 281281

FRIDAY 21ST SHREWSBURY THEATRE SEVERN 01743 281281

SATURDAY 22ND CHELTENHAM EVERYMAN THEATRE 01242 572573

MONDAY 24TH NORWICH THEATRE ROYAL 01603 630000

TUESDAY 25TH SWINDON WYVERN THEATRE 01793 524481

WEDNESDAY 26TH SWINDON WYVERN THEATRE 01793 524481

FRIDAY 28TH BELFAST ULSTER HALL 028 9033 4455

SATURDAY 29TH DUBLIN OLYMPIA THEATRE 353 818 791 330

OCTOBER

TUESDAY 2ND CRAWLEY THE HAWTH 01293 553636

WEDNESDAY 3RD CARDIFF ST DAVIDS HALL 029 2087 8444

THURSDAY 4TH BASINGSTOKE THE ANVIL 01256 844244

SATURDAY 6TH OXFORD NEW THEATRE 0844 871 3020

SUNDAY 7TH STAFFORD GATEHOUSE THEATRE 01785 619080

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Guy Slater in association with Tara Arts presents the World Premiere staging of

Eastern Star

By Guy Slater

A powerful play about the tortuous relationship between two men during a momentous time in Myanmar that questions

Who writes history – the activist or the journalist

11^th – 29^th September 2018 | Tara Theatre

Ahead of the 30^th anniversary of the 1988 student uprising against the military dictatorship in Burma (now Myanmar) on 8^th August, Guy Slater in association with Tara Arts is proud to announce the World Premiere production of Eastern Star, to be performed at Tara Theatre from 11^th – 29^th September.

Eastern Star is based on the true story of the relationship between a BBC World Service journalist, Christopher Gunness and a Burmese human rights lawyer, U Nay Min, with the latter acting as the ‘architect’ of the revolution, and the former serving as its ‘voice’.

After the revolution was brutally suppressed Chris went on to comparative fame and fortune (he is currently director of communications with UN in the Middle East) while U Nay Min was arrested, imprisoned for 16 years and tortured. Set around their fraught and painful reunion 25 years after the revolution, Eastern Star examines the responsibility of global news corporations towards their sources, touching on the theme of news manipulation and fake news. The piece shines a light on what happens when a journalist walks away from the subject of their story. At its heart, the play questions who writes history – the activist or the journalist?

Eastern Star is written and directed by Guy Slater, who was struck by Chris’ story after hearing him speak at a fund-raising event, and with his permission set about adapting this fascinating story for the stage. Guy has had a long and successful career in theatre and television. He ran the Horseshoe Theatre Company, mainly operating out of the Haymarket Theatre, for seven years. He has directed plays in many parts of the world – London, California, Edinburgh, New York and India. Actors he has worked with include Derek Jacobi, Gwen Watford, Timothy West, Paul Scofield, Zoe Wanamaker, Wendy Hillier, George Cole and David Morrissey.  He has also written many plays for radio and television.

Guy Slater said:

“Christopher and U May Min’s story is a moving and resonant one. I am delighted to be bringing it to the stage for the 30^th anniversary of the 1988 student uprising. People rarely stop to think about the relationship between a reporter and his/her subject. Its been a challenge and a delight to look at the story from both – very complex and painful- perspectives.”

Christopher Gunness said:

“It’s surreal to have started a revolution by mistake without even realising it, but as a cub reporter at the BBC that’s just what I did. I never imagined that my reporting would play a part in shaping the fate of a nation and writing the first draft of its history. And with the Rohinga crisis deepening, that history is still being written. The true hero of this story is U Nay Min, and I am delighted that this story is being brought to the stage on this momentous anniversary.” 

Casting will be announced in due course.

www.tara-arts.com/

Box office: 020 8333 4457

LISTINGS

Eastern Star

Venue: Tara Theatre

Dates: 11 – 29 Sept 2018

Performances: Tues 11 to Sat 29 Sept, 7.30pm, Matinees Sat 22 & 29 Sept 3.30pm; and Thurs 27 Sept 3.30pm

Prices: £13.50 (concessions) and £17.50 (standard)
Booking: www.tara-arts.com / 020 8333 4457

POST SHOW DISCUSSIONS

Wednesday 19 September: The Reporter & The Activist with Lyse Doucet (BBC Chief International Correspondent) and Christopher Gunness

Wednesday 26 September: Myanmar Today: How did the student uprising of 1988 change history with Martin Smith (Project Burma)

LORDS WARN UK CULTURAL SECTOR MAY SUFFER AFTER BREXIT WITHOUT RECIPROCAL VISA AGREEMENTS WITH THE EU

Without effective reciprocal arrangements for movement of people between the UK and EU, the UK may see a decline in skilled cultural sector workers coming to the country. Such a development would be to the detriment of the sector, and represent a significant loss to the audiences that enjoy seeing talent from across Europe performing in the UK.

In its report published today, Brexit: movement of people in the cultural sector, the House of Lords EU Home Affairs Sub-Committee highlights that bringing EU cultural workers under the same restrictions as currently apply to third country nationals could harm the sector, because existing visa rules require a minimum salary in excess of what many cultural organisations can offer. As a result, the UK may struggle to attract talent.

The ability to move between the UK and EU27 at short notice is integral to the business model of many cultural sector organisations, which are often built on the services of consultants and freelance workers working on a project basis, or working on multiple projects at one time.

The Committee suggests the Government consider two possible visa options that would recognise the two-way benefits that accrue from allowing artists, entertainers and other cultural sector workers to move freely between the UK and EU:

• Extending the permitted paid engagement and permit-free festival arrangements to EU citizens;
•  Offering a multi-country, multi-entry short-term ‘touring visa’ for EU citizens, and seek a reciprocal commitment for UK citizens travelling to the EU.

The Government’s recent White Paper acknowledges that “the UK and the EU will … need provisions that allow for mobility” to facilitate the proposed “cooperative accord” with the EU on culture and education. However it is unclear how this accord would relate to wider immigration policy, or the existing visa system. Given the cultural sector’s concerns about how it will be affected by any agreement with the EU on migration, the Government should urgently provide more detail on this proposal.

Lord Jay of Ewelme, Chairman of the Committee, said:

“Individuals working in the UK cultural sector are highly mobile, and have thrived on collaboration with people from all over the world. The country benefits enormously from the sector’s contribution to its economy and society, and it makes  an important contribution to the UK’s international image and influence.

“If the Government is to achieve its wish to establish an immigration system that meets the needs of the post-Brexit economy, the UK’s negotiators will need to be flexible. This means recognising that any restrictions on EU citizens wishing to enter the UK to work may be matched by reciprocal restrictions on UK workers in the EU.”