Home

LEEDS GRAND THEATRE ANNOUNCES THE APPOINTMENT OF MARIA SPADAFORA AS CREATIVE ENGAGEMENT MANAGER

StoryHouse, Chester – until Saturday 10th March 2018.  Reviewed by Julie Noller 

5*****

My first memories of Cilla Black are of ITV Saturday nights, Blind Date and Surprise Surprise, when she made a scouse accent trendy again. She was a big bouncy ball of fun with a lorra lorra laughs. But this wasn’t the story of down to earth mumsy Cilla in the 1980’s; this was the story of Cilla the young down to earth girl from Scotty Road in Liverpool of the 1960’s. Way before she’d reinvented herself. Where voices were everywhere and everyone knew a Beatle or two and to be introduced to Brian Epstein was everything.

Cilla was originally written by Jeff Pope as a three part television serial celebrating the early years of the Queen of Entertainment, growing up and discovering life and love in postwar Liverpool, the booming times of growth, yet everything was small (except the hair) mini skirts and cars. Liverpool as a port itself was slowly declining yet behind closed doors a musical revolution was developing a new sound. Merseybeat was being nurtured in clubs such as the world famous Cavern Club on Matthews Street. The mini series was given the seal of approval by Cilla herself, the musical became a reality sadly after the much loved iconic star had passed away.

Cilla the Musical sould be explained in two parts, firstly the story. The emotion, the humour, the devotion, the love story. Not just between Cilla and our Bobby, but the feistyness of John Lennon. The hardness of the music industry. The fickleness of fame. Then there’s Brian Epstein brilliantly played by Andrew Lancel, we sense a man in turmoil. So sure of himself bringing stars to the top of the hit parade and yet lonely, insecure and needy. Sadly we see his star fading and eventually being extinguished before his time.

The superb Kara Lily Hayworth delights and enthrals as Cilla. I admit to clapping and toe tapping away as well as rubbing goosebumps, my hairs electric. My fellow audience members delighted me by swaying in their seats, singing away and I heard more than once an exclamation of ‘this is my favourite song’. It’s hard to believe that she was found by attending an open audition after a four hour queue, she feels like she was born to play Cilla. Kara lit up the stage in a way only the very best do. Bobby heartwarmingly played by Carl Au is more than a devoted puppy to the enigma he worships, he is indeed her soulmate, best friend and most trusted confidante. In a world where we people watch as hobby, their relationship should be held aloft as a symbol that if something is worth fighting for then you reap what you sow. Religion aside, people first, is something of a motto. The humour is quite often fast paced and surprising, Cilla’s Dad John White (Neil MacDonald) was in the merchant Navy not a great gag but when delivered with perfect timing is hilarious. Her Mother Big Cilla (Pauline Fleming) proud of her daughters achievement of leaving school suitable for office work, devestated upon her leaving that career to become a recording star and then telling all; she herself could have been famous.

Secondly we have the music, who could tell the story of Cilla Black, during 1960’s Liverpool, without including some of the best songs of Merseybeat? I say some as at nearly three hours long you may begin to struggle, but no you’ll be tapping and swaying. Those three hours pass in a blur of lights and great music. I loved the fact people were up dancing and not just swaying in their seats. I grew up listening to stories of trips to Liverpool, clubs in Chester where these stars actually played. Well tonight I lived during the 1960’s, what a magical decade it was. The songs themselves didn’t need an introduction, but they were all delivered with great passion and understanding. The cast were all brilliant, Characters we all know so well, Cilla was the Queen of Entertainment tonight her star is not only shining in the heavens above but on a small theatre stage in Chester and what a brilliant star it is.

Grand Opera House York – until Saturday 10th March 2018. Reviewed by Michelle Richardson

4****

Strangers on a Train is based on the Patricia Highsmith’s first novel, published in 1950, made famous by Oscar winning Alfred Hitchcock film, adapted by Craig Warner.

Two strangers, Charles Bruno and Guy Haines, meet on a train crossing America. Haines just wants to be left alone to read his book, but his new acquaintance, Bruno, is just one of those annoying, infectious people that won’t take no for an answer and is continually pouring Haines out a drink from his bottomless hip flask. Once the alcohol has taken affect and inhabitations lowered the talk turns to murder! Surely what Bruno is proposing is just a joke and is only the drink talking?

The cast as a whole are really quite good, with the main protagonists well cast, delivering strong performances. Chis Harper as Bruno is the stand out performer of the show, funny, manic and decidedly creepy. We firstly see him as the spoilt rich kid, loud and brash, wanting everything on a plate, resenting his father for limiting his funds, why should he work when he can have things for free? He certainly convinces with Bruno, an alcoholic with mummy issues. He becomes more and more psychotic, totally fixated by Haines, and managing to wheedle his ways into Haines life. Jack Ashton plays the somewhat quieter Haines, becoming more and more trapped as he is being manipulated by Bruno. His world is falling apart, a character in torment. There is strong support from John Middleton, as Arthur Gerard, the private eye who solves the mystery, but to be honest Bruno has left too many clues for it not to be solved, Hannah Tointon as Haines’s frilly fiancée and then wife Anne, who is far tougher than she first appears, and Helen Anderson, Bruno’s fragile mother, whose very close relationship with her son is toxic and uncomfortable.

David Woodhead has produced a very clever set. From the initial visual on stage of the American flag, we were introduced to sliding panels revealing different scenes, including the inside a train carriage, an office, a bedroom and a house. The last scene involved a train yard, this was atmospheric and very believable. The show was delayed on the night I went to see it, due to technical difficulties, which after seeing the intricate staging was not a surprise. I’m glad to say that part from that small delay no other problems were encountered.

Strangers on a Train is a good night out with suspense throughout, right until its dramatic conclusion.

OfficialLondonTheatre.com / YouTube / Twitter / Facebook / Instagram / Giphy / #OlivierAwards

· CATHERINE TATE ANNOUNCED AS HOST OF OLIVIER AWARDS 2018 WITH MASTERCARD.

· 2018 BE INSPIRED CHAMPIONS ANNOUNCED

· ROAD TO OLIVIERS A NEW FOUR-PART SERIES TO PREMIERE WITH FACEBOOK LIVE THROUGHOUT MARCH AND APRIL

The Olivier Awards with Mastercard, the UK’s most prestigious stage honours, is delighted to announce Catherine Tate as the host of this year’s 42nd Olivier Awards ceremony. The ceremony will be hosted at the Royal Albert Hall on Sunday 8th April and broadcast to the UK and worldwide.

Catherine Tate is an award-winning actress and writer renowned for her BBC Two series The Catherine Tate Show and her central role in BBC One Doctor Who alongside David Tennant. Stage credits include Assassins (Menier Chocolate Factory, 2015), The Vote (Donmar Warehouse, 2015), Season’s Greetings (National Theatre, 2011), Much Ado About Nothing (West End, 2011) and Some Girl(s) (West End, 2005) as well as credits at the Royal Shakespeare Company. Catherine presented BBC Two Shakespeare Live! From the RSC with David Tennant and the pair recently reunited for Disney’s Duck Tails (2017). Other recent film credits include playing Baba Yaga in animated horror comedy Monster Family (2017).

Catherine Tate commented, “I’m delighted to be hosting this year’s Olivier Awards. Theatre has always been a big love of mine both as a performer and as an audience member. For me it’s the shared experience that can’t be beaten. The memories I have of theatre stay with me long after the show has ended, even the productions I caught as a child, such is the power of this wonderful medium! There is so much to celebrate within the UK theatre scene and it’s my pleasure to be involved in this exciting and inspiring event.”

The Oliviers Awards is also delighted to announce the 2018 Be Inspired champions, voted for by members of the public and industry. This year’s winners include Ballet Teacher, Angela Allport; accessible theatre campaigner and reviewer, Pippa Stacey; Youth Theatre Director, Cheryl Govan and editor of The Musical Theatre Appreciation Society social media platforms, Willy Mukendi. The champions will attend the ceremony on 8th April to receive their plaques during the red carpet show.

2018 sees the premiere of Road to the Oliviers, a new four-part series building excitement with intimate performances, interviews with the nominees and backstage footage from nominated shows. These will be co-produced by the Olivier Awards and Facebook, and broadcast live on 16th, 23rd, 29th March and 6th April.

Mastercard continues its partnership with Society of London Theatre and its headline sponsorship of the Olivier Awards, bringing cardholders with a passion for theatre closer to the genre they love

OfficialLondonTheatre.com / YouTube / Twitter / Facebook / Instagram / Giphy / #OlivierAwards

OLIVIER AWARDS 2018 WITH MASTERCARD NOMINATIONS ANNOUNCED

· NEW AMERICAN MUSICAL HAMILTON BECOMES THE MOST NOMINATED PRODUCTION IN OLIVIERS HISTORY WITH 13 NOMINATIONS

· THE FERRYMAN, CURRENTLY RUNNING IN THE WEST END BEFORE TRANSFERRING TO BROADWAY, IS THE MOST NOMINATED NEW PLAY WITH 8 NOMINATIONS

· THE NATIONAL THEATRE CELEBRATES 22 NOMINATIONS WITH MUSICAL FOLLIES RECEIVING 10 NOMINATIONS; THE ALMEIDA THEATRE RECEIVES 7 NOMINATIONS FOR HAMLET AND JAMES GRAHAM’S NEW PLAY INK; THE OLD VIC RECEIVES 5 FOR NEW MUSICAL GIRL FROM THE NORTH COUNTRY

· SHEFFIELD THEATRE’S UPLIFTING NEW BRITISH MUSICAL EVERYBODY’S TALKING ABOUT JAMIE, CURRENTLY PLAYING AT THE APOLLO THEATRE, RECEIVES 5 NOMINATIONS

Today, Elaine Paige and Alexandra Burke announced the nominations for the Olivier Awards 2018 with Mastercard, UK’s most prestigious stage honours. The 2018 awards are set to be an exciting occasion with original new work dominating the categories and a significant number of artists receiving their first ever Olivier nominations. Catherine Tate will host the Awards at the Royal Albert Hall on Sunday 8 April and they will be broadcast to the UK and worldwide.

Hamilton’s record-breaking thirteen nominations make it the most nominated production in Oliviers history replacing Harry Potter And The Cursed Child (2017) and Hairspray (2008) who jointly held the record with eleven nominations. Lin-Manuel Miranda’s tale about the life of American Founding Father Alexander Hamilton is nominated in the following categories: 2 nominations in Best Actor in a Musical category, 3 nominations in Best Actor in a Supporting Role in a Musical category, Best Actress in a Supporting Role in a Musical, Mastercard Best New Musical, White Light Award for Best Lighting Design, Best Costume Design, Best Sound Design, Best Director, Best Theatre Choreographer and Outstanding Achievement in Music.

In the play categories, Jez Butterworth’s Northern Irish drama, The Ferryman, leads with 8 nominations including Best Actor, Best Actor in a Supporting Role, Best Actress, 2 nominations in Best Actress in a Supporting Role category, Best New Play, Best Set Design and Best Director. The National Theatre’s production of Angels In America, currently playing on Broadway, follows with 6 nominations.

Other musicals which have performed strongly include the National Theatre’s production of Stephen Sondheim’s Follies with 10 nominations. The Old Vic’s production of Conor McPherson’s Girl From The North Country, which features classic songs from Bob Dylan received 5 nominations, and Sheffield Theatre’s new British musical hit Everybody’s Talking About Jamie, currently playing at the Apollo Theatre, also received 5 nominations.

In the Best Actor category, Paddy Considine, Bryan Cranston and Andrew Garfield receive their first Olivier Award nominations for their performances in The Ferryman, Network and Angels In America respectively. Previous Olivier Award winner, Andrew Scott, receives a nomination for his portrayal of Hamlet.

In the Best Actress category, Northern Irish actress Laura Donnelly, and six-time Tony Award winner Audra McDonald receive their first nominations for their performances in The Ferryman and Lady Day At Emerson’s Bar And Grill respectively. Previous Olivier Award winner and this year’s Oscar nominee for Best Supporting Actress, Lesley Manville, receives a nomination for her performance in Long Day’s Journey Into Night. Four times Olivier Award winner Imelda Staunton receives a Best Actress nomination for her role in Who’s Afraid Of Virginia Woolf? as well as Best Actress in a Musical for Follies.

The Outstanding Achievement in Affiliate Theatre category demonstrates fresh, contemporary new writing in London’s off-West End theatres, and a strong producing relationship between London and other UK-based theatre makers. The B*easts at Bush Theatre, produced by Something For The Weekend in association with the Bush Theatre; Killology at Jerwood Theatre Upstairs at the Royal Court Theatre, a co-production with the Sherman Theatre; The Red Lion at Trafalgar Studios 2, a transfer from Newcastle’s Live Theatre; and The Revlon Girl at Park Theatre, an Independence Shows production in association with Park Theatre, all received nominations.

The Best New Opera Production nominations are La Bohème at Trafalgar Studios 2 produced by King’s Head Theatre, Joe C Brown, In Your Face Theatre and Making Productions, and two nominations for the Royal Opera House with The Exterminating Angel, a co-production with Salzburg Festival, The Metropolitan Opera, New York, and The Royal Danish Opera; and Semiramide, a co-production with Bavarian State Opera.

In Best New Dance Production, Flight Pattern by Crystal Pite at Royal Opera House; Goat by Ben Duke for Rambert Dance Company at Sadler’s Wells; Grand Finale by Hofesh Shechter at Sadler’s Wells; and Tree Of Codes by Wayne McGregor and The Paris Opera Ballet at Sadler’s Wells all receive nominations.

For Outstanding Achievement in Dance, Rocío Molina has been nominated for pushing the boundary of flamenco in Fallen From Heaven (Caída Del Cielo) at Barbican Theatre. Francesca Velicu has been nominated for her performance in English National Ballet’s production of Pina Bausch’s Le Sacre Du Printemps at Sadler’s Wells, and Zenaida Yanowsky has been nominated for her performance in Liam Scarlett’s Symphonic Dances at Royal Opera House.

Julian Bird, Chief Executive of Society of London Theatre and Executive Producer of the Olivier Awards, said:

“This year’s Olivier nominations reflect a strong and exciting performing arts scene in the UK with fresh, new work coming to the fore. It is wonderful to see so many first time nominees and we look forward to welcoming everyone to this celebratory occasion on Sunday 8 April”.

Mastercard continues its partnership with Society of London Theatre and its headline sponsorship of the Olivier Awards, bringing cardholders with a passion for theatre closer to the genre they love. Tickets to theatre’s biggest night are available exclusively for Mastercard cardholders and are available via priceless.com.

Full broadcast details will be announced at a later date.

FULL NOMINATIONS LIST FOR THE OLIVIER AWARDS 2018 WITH MASTERCARD

BEST ACTOR IN A SUPPORTING ROLE IN A MUSICAL

Michael Jibson for Hamilton at Victoria Palace Theatre

Ross Noble for Young Frankenstein at Garrick Theatre

Jason Pennycooke for Hamilton at Victoria Palace Theatre

Cleve September for Hamilton at Victoria Palace Theatre

BEST ACTRESS IN A SUPPORTING ROLE IN A MUSICAL

Sheila Atim for Girl From The North Country at The Old Vic

Tracie Bennett for Follies at National Theatre – Olivier

Rachel John for Hamilton at Victoria Palace Theatre

Lesley Joseph for Young Frankenstein at Garrick Theatre

OUTSTANDING ACHIEVEMENT IN MUSIC

Everybody’s Talking About Jamie – Music and Orchestrations by Dan Gillespie Sells, his debut as a musical theatre composer and orchestrator at Apollo Theatre

Follies – The Orchestra, under the Music Supervision of Nicholas Skilbeck and Music Director Nigel Lilley at National Theatre – Olivier

Girl From The North Country – Music & Lyrics by Bob Dylan, Original Orchestrations & Arrangements by Simon Hale at The Old Vic

Hamilton – Composer-Lyricist Lin-Manuel Miranda at Victoria Palace Theatre

BEST NEW DANCE PRODUCTION

Flight Pattern by Crystal Pite at Royal Opera House

Goat by Ben Duke for Rambert Dance Company at Sadler’s Wells

Grand Finale by Hofesh Shechter at Sadler’s Wells

Tree Of Codes by Wayne McGregor and The Paris Opera Ballet at Sadler’s Wells

OUTSTANDING ACHIEVEMENT IN DANCE

Rocío Molina for pushing the boundary of flamenco in Fallen From Heaven (Caída Del Cielo) at Barbican Theatre

Francesca Velicu for her performance in English National Ballet’s production of Pina Bausch’s Le Sacre Du Printemps at Sadler’s Wells

Zenaida Yanowsky for her performance in Liam Scarlett’s Symphonic Dances at Royal Opera House

BEST ENTERTAINMENT AND FAMILY

David Walliams’ Gangsta Granny at Garrick Theatre

Derren Brown: Underground at Playhouse Theatre

Dick Whittington at London Palladium

Five Guys Named Moe at Marble Arch Theatre

BEST THEATRE CHOREOGRAPHER

Andy Blankenbuehler for Hamilton at Victoria Palace Theatre

Bill Deamer for Follies at National Theatre – Olivier

Kate Prince for Everybody’s Talking About Jamie at Apollo Theatre

Randy Skinner for 42nd Street at Theatre Royal Drury Lane

Christopher Wheeldon for An American In Paris at Dominion Theatre

MAGIC RADIO BEST MUSICAL REVIVAL

42nd Street at Theatre Royal Drury Lane

Follies at National Theatre – Olivier

On The Town at Regent’s Park Open Air Theatre

BEST ACTOR IN A MUSICAL

Ciarán Hinds for Girl From The North Country at The Old Vic

John McCrea for Everybody’s Talking About Jamie at Apollo Theatre

Giles Terera for Hamilton at Victoria Palace Theatre

Jamael Westman for Hamilton at Victoria Palace Theatre

BEST ACTRESS IN A MUSICAL

Janie Dee for Follies at National Theatre – Olivier

Shirley Henderson for Girl From The North Country at The Old Vic

Imelda Staunton for Follies at National Theatre – Olivier

Josie Walker for Everybody’s Talking About Jamie at Apollo Theatre

BEST REVIVAL

Angels In America at National Theatre – Lyttelton

Hamlet at Almeida Theatre

Who’s Afraid Of Virginia Woolf? at Harold Pinter Theatre

Witness For The Prosecution at London County Hall

BEST NEW COMEDY

Dry Powder at Hampstead Theatre

Labour Of Love at Noël Coward Theatre

Mischief Movie Night at Arts Theatre

The Miser at Garrick Theatre

OUTSTANDING ACHIEVEMENT IN AFFILIATE THEATRE

The B*easts at Bush Theatre

Killology at Jerwood Theatre Upstairs at the Royal Court Theatre

The Red Lion at Trafalgar Studios 2

The Revlon Girl at Park Theatre

WHITE LIGHT AWARD FOR BEST LIGHTING DESIGN

Howell Binkley for Hamilton at Victoria Palace Theatre

Paule Constable for Angels In America at National Theatre – Lyttelton

Paule Constable for Follies at National Theatre – Olivier

Jan Versweyveld for Network at National Theatre – Lyttelton

BEST SOUND DESIGN

Tom Gibbons for Hamlet at Almeida Theatre

Gareth Owen for Bat Out Of Hell The Musical at London Coliseum

Eric Sleichim for Network at National Theatre – Lyttelton

Nevin Steinberg for Hamilton at Victoria Palace Theatre

BEST COSTUME DESIGN

Hugh Durrant for Dick Whittington at London Palladium

Roger Kirk for 42nd Street at Theatre Royal Drury Lane

Vicki Mortimer for Follies at National Theatre – Olivier

Paul Tazewell for Hamilton at Victoria Palace Theatre

BLUE-I THEATRE TECHNOLOGY AWARD FOR BEST SET DESIGN

Bunny Christie for Ink at Almeida Theatre and Duke of York’s Theatre

Bob Crowley and 59 Productions for An American In Paris at Dominion Theatre

Rob Howell for The Ferryman at Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Vicki Mortimer for Follies at National Theatre – Olivier

BEST ACTOR IN A SUPPORTING ROLE

Bertie Carvel for Ink at Almeida Theatre and Duke of York’s Theatre

John Hodgkinson for The Ferryman at Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

James McArdle for Angels In America at National Theatre – Lyttelton

Peter Polycarpou for Oslo at Harold Pinter Theatre

BEST ACTRESS IN A SUPPORTING ROLE

Bríd Brennan for The Ferryman at Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Denise Gough for Angels In America at National Theatre – Lyttelton

Dearbhla Molloy for The Ferryman at Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Imogen Poots for Who’s Afraid Of Virginia Woolf? at Harold Pinter Theatre

BEST NEW OPERA PRODUCTION

La Bohème at Trafalgar Studios 2

The Exterminating Angel at Royal Opera House

Semiramide at Royal Opera House

OUTSTANDING ACHIEVEMENT IN OPERA

Paul Brown for his set and costume designs for Iolanthe at London Coliseum

Joyce DiDonato and Daniela Barcellona for their performances in Semiramide at Royal Opera House

Roderick Williams for his performance in The Royal Opera’s The Return Of Ulysses at the Roundhouse

BEST ACTOR

Paddy Considine for The Ferryman at Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Bryan Cranston for Network at National Theatre – Lyttelton

Andrew Garfield for Angels In America at National Theatre – Lyttelton

Andrew Scott for Hamlet at Almeida Theatre

BEST ACTRESS

Laura Donnelly for The Ferryman at Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Lesley Manville for Long Day’s Journey Into Night at Wyndham’s Theatre

Audra McDonald for Lady Day At Emerson’s Bar & Grill at Wyndham’s Theatre

Imelda Staunton for Who’s Afraid Of Virginia Woolf? at Harold Pinter Theatre

BEST DIRECTOR

Dominic Cooke for Follies at National Theatre – Olivier

Marianne Elliott for Angels In America at National Theatre – Lyttelton

Rupert Goold for Ink at Almeida Theatre and Duke of York’s Theatre

Thomas Kail for Hamilton at Victoria Palace Theatre

Sam Mendes for The Ferryman at Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

AMERICAN AIRLINES BEST NEW PLAY

The Ferryman at Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Ink at Almeida Theatre and Duke of York’s Theatre

Network at National Theatre – Lyttelton

Oslo at Harold Pinter Theatre

MASTERCARD BEST NEW MUSICAL

An American In Paris at Dominion Theatre

Everybody’s Talking About Jamie at Apollo Theatre

Girl From The North Country at The Old Vic

Hamilton at Victoria Palace Theatre

Young Frankenstein at Garrick Theatre

 

FULL CASTING ANNOUNCED FOR MORPHIC GRAFFITI’S NEW ADAPTATION OF WILLIAM WYCHERLEY’S

THE COUNTRY WIFE

 

 

Morphic Graffiti presents

The Country Wife

By William Wycherley

 

28 March – 21 April

Director: Luke Fredericks; Set and Costume Designer: Stewart Charlesworth

Movement Director: Heather Douglas; Lighting Designer: Sam Waddington

Co-Artistic Directors of Morphic Graffiti, Luke Fredericks and Stewart Charlesworth, today announce full casting for their new adaptation of William Wycherley’s restoration comedy The Country Wife. Fredericks directs theatre veteran Richard Clews whose credits include King Lear, (Chichester Festival Theatre) and extensive work for the RSC and Shakespeare’s Globe, Sarah Lam (Chimerica, Almeida Theatre / Harold Pinter Theatre, Lucky Man, No Problem!) and Sam Graham(Spooks, Kingdom, Footballer’s Wives) who join the previously announced ‘Bright Young Things’ – EastEnders’ Eddie Eyre, Call the Midwife’s Leo Staar, West End stars Siubhan Harrison and Nancy Sullivan along with Daniel Cane, Mabel Clements and Joshua Hill completing the full company. Thrust into the excesses and seductions of late 1920s London: a city exploding with a heavy mix of jazz, gin and scandalous affairs, the production opens at Southwark Playhouse on 4 April, with previews from 28 March, and runs until 21 April.

“Everything in the world is about sex, except sex. Sex is about power”. Oscar Wilde

Renowned playboy, Harry Horner, has made it known in the society pages that he is now impotent. For the jealous husbands, this cunning lothario is neither a threat to their wives nor their reputations.

Meanwhile, business brings the newly married Jack Pinchwife to the city with his much younger wife Margery in tow. Dazzled by everything laid out in front of her, Margery is determined to savour it all, regardless of the consequences.

This is the Twenties, the ladies are now very much on top and they alone will decide what, and indeed who, comes their way.

With the decadence of the London social scene and the creative and sexual revolution of the ‘Bright Young Things’ movement, it won’t just be the hemlines that are rising at Southwark this spring.

www.morphicgraffiti.com

Twitter: @morphicgraffiti

Facebook: Morphic Graffiti

 

The Country Wife

Listings

Southwark Playhouse

77-85 Newington Causeway, London SE1 6BD

28 March – 21 April

Box Office: 020 7407 0234

www.southwarkplayhouse.co.uk

 

Tickets:

£12 (Wednesday 28 March to Monday 3 April 2018)

£20/£16 (concessions)

Performance Schedule:

Monday to Saturdays 7.30pm. Matinees on Saturdays and Tuesdays at 3pm

Age guidance: 12+

Darlington Hippodrome – until 10 March 2018

5*****

In a triumphant return to Darlington and the newly refurbished Hippodrome, The Play That Goes Wrong does exactly what it says on the tin – with hilarious results.  

The premise is rather simple: fictitious amateur theatre company, the Cornley Polytechnic Drama Society, is presenting 1920s murder mystery The Murder at Haversham Manor.

They’ve recently had some troubles with budgeting and cast sizes, which have taken their toll on recent productions such as Chekhov’s Two Sisters, The Lion and the Wardrobe, and Cat.

But with a lavish and intricate set, things seem to have fallen into place for their newest production.  That is, until things fall very, very quickly out of place.

“The Murder at Haversham Manor.” That play within “The Play” is a twisty thriller with all of the usual ingredients — a corpse, a sniffy detective, friends, relatives and servants who are suspects. Standard stuff.

The curtain rises and things go awry… and it’s downhill from there. Props attack, lines are fluffed, actors break character or get whacked by scenery but most of the problems come from the set, which falls apart in some magical and apparently dangerous ways, necessitating fast adjustments from the Cornley players to get through. The problem is that they’re not the brightest or most experienced group of thespians, so their solutions to the mounting problems simply result in greater problems.

Having seen the show before – the first time in a room above a pub with the cast outnumbering the audience – I really knew what was coming and yet it had lost none of its hilarity and shock tactics. I felt exactly the same; less than one minute in, roaring with laughter! In a way, anticipating the calamitous antics, made it even funnier because I was laughing in advance!

Bobby Hirston as Max, an easily embarrassed enthusiast, is perfectly ‘miscast’ as Cecil Haversham, the brother supposedly having a passionate affair but who can’t bear to be touched. Benjamin McMahon slips effortlessly in and out of character as Dennis, the one who failed at everything else so thought he would try drama. Elena Valentine plays seasoned am-dram actress Sandra, who relishes every chance to strike a pose, forgetting that Florence Colleymoore is supposedly grieving for a dead fiancé. Kazeem Tosin Amore is completely unflappable as Robert and makes getting it wrong look so right, and Jake Curran as Chris, Head of the Drama Society, director of the production and, inevitably, in the lead rôle of Inspector Carter, times a steady fall into hysteria perfectly while always clawing back a semblance of control of the chaos that surrounds him.

Techies (played perfectly by actual actors, including Gabriel Paul’s Trevor and Catherine Dryden’s Annie who has to take over when Sandra is knocked unconscious) are let loose among us at the incoming and the interval, while on stage we watch a relentless succession of slapstick and sight gags, performed with precision timing and real relish by an excellent ensemble.

Of course, it is down to the skill of all eight performers that you gets to laugh out loud at everything that can possibly go wrong. The pace is fast and the script (by original cast members and founders of Mischief Theatre Henry Lewis, Jonathan Sayer and Henry Shields) is tailored cleverly to each new disaster. Every facet of this production is beautifully detailed, even down to two sets of photos and biographies in the programme, which are definitely worth a read.

This was the perfect antedote the horrendous weather of the last few days – who can’t fail to be warmed whilst enjoying such comedy genius?  Catch this show on tour or in the West End.  In Darlington until Saturday 10 March and back in the North East again at Newcastle Theatre Royal 2 to 7 July and Billingham 17 to 22 September

FULL CASTING ANNOUNCED FOR RUTHLESS! THE MUSICAL

 

FIFI BLOOMSBURY KHIER, CHARLOTTE BREEN, ANYA EVANS AND LUCY SIMMONDS ALTERNATE IN THE ROLE OF TINA DENMARK

 

Evan Sacks, Darren Bagert, Adam Mackie, Kenneth Schur and Maxine Paul present

RUTHLESS! THE MUSICAL

Book and Lyrics: Joel Paley

Music: Marvin Laird

Director: Richard Fitch; Choreographer: Rebecca Howell; Designer: Morgan Large

Lighting Designer: Tim Lutkin; Sound Designer: Gregory Clarke

Musical Supervisor: Gareth Valentine

16 March – 23 June

Arts Theatre

Fifi Bloomsbury Khier, Charlotte Breen, Anya Evans and Lucy Simmonds alternate in the central role of Tina Denmark in Joel Paley and Marvin Laird’s award-winning all female character camp killer cult classic Ruthless! The Musical. They join Jason Gardiner, Lara Denning, Kim Maresca, Harriet Thorpe and Tracie Bennett, completing the full company ahead of it’s strictly limited 14 week run at the Arts Theatre.

The musical has played Off Broadway to critical acclaim over the past 25 years. This brand new production, directed by Richard Fitch, opens on 27 March, with previews from 16 March, and runs until 23 June.

How far would you go to get what you want?

Ruthless! The Musical tells the story of the beautiful and talented 8 year old Tina Denmark who will do anything to play the lead in her school play… ANYTHING!

Ruthless! started Off-Broadway 25 years ago and discovered young performers including Britney Spears and Natalie Portman. The show famously spoofs Broadway musicals from Gypsy to Mame as well as iconic films including The Bad Seed and All About Eve.

Joel Paley (Book and Lyrics) directed the first production of Ruthless! at the Players Theater which won the 1993 Outer Critics Circle Award for Best Off-Broadway Musical, and for which he won the Drama Desk Award as Best Lyricist. He has directed many highly acclaimed productions including New York (Outer Critics Circle, Drama Desk nominee for Best Director), South Beach, Florida (Carbonell Award winner for Best Director and Best Musical Production), the original Los Angeles production as well as the record-breaking concert production starring Bernadette Peters. He conceived and staged an all-singing, all-dancing showroom parody for Bob Newhart in Las Vegas, Lake Tahoe and Atlantic City; creating dances for Maude starring Bea Arthur; and writing (with Laird) and staging the opening production sequence of the Academy Award-nominated short film, A Different Approach, featuring physically challenged performers dancing in wheelchairs. He also directed the all-female national tour of Neil Simon’s The Odd Couple starring Barbara Eden, Rita McKenzie and Georgia Engel.

Marvin Laird (Music) began his career on Broadway in the early 1960s writing dance and vocal arrangements. Years of TV scoring (Dynasty, Love Boat, Laverne & Shirley), movie arranging (Hello, Dolly!, New York, New York) and creating/conducting Las Vegas acts  – including for Diana Ross, Juliet Prowse, Ann-Margret, Mama Cass Elliot, Goldie Hawn and Bernadette Peters, followed.  Most recently, he conducted the Broadway productions of Follies, Gypsy and Annie Get Your Gun. Additionally, he has been music director and conductor for Bernadette Peters’ international concert appearances and night club act for over 40 years, and is currently Associate Conductor on Hello Dolly! accompanying her.

Jason Gardiner plays Sylvia St. Croix. Originally from Melbourne, he is a television broadcaster, performer and choreographer – he is currently a judge in the popular ITV series Dancing on Ice. He began his professional career in the original Australian cast of 42nd Street at the age of 16, and has since gone on to perform in over 20 award-winning musicals including West Side Story, Cats, Dames At Sea, Oklahoma, Anything Goes, Chicago, Pippin and My Fair Lady. As a choreographer he has worked with some of the industry’s biggest names including Pink, Dame Shirley Bassey, Kylie, Cher, Bjork, Roseanne Barr and Sir Elton John. His choreography received critical praise for the Raindance Film Festival favourite, Meet Pursuit Delange. His other television presenting roles have included ITV’s This Morning as their fashion presenter, culture expert on Queer Eye for the Straight Guy UK, a permanent panellist on Ultimate Shopper for TLC Network and the UK presenter on Red Carpet Moments for E! Entertainment.

Tracie Bennett plays Lita. Her theatre work includes Follies (National Theatre); and in the West End, Mrs Henderson Presents, End of the Rainbow (also Broadway – winner of Outer Critics’ Circle and Drama Desk awards; and Olivier and Tony Award nominations), La Cage aux Folles, Hairspray – Olivier Award for Best Performance in a Supporting Role in a Musical, Les Misérables, She Loves Me – Olivier Award for Best Performance in a Supporting Role in a Musical. Other theatre work includes The Hypochondriac (Theatre Royal Bath), Sex, Chips & Rock ’n’ Roll – TMA Award for Best Supporting Performance in a Musical (Royal Exchange Manchester), Carousel, Billy Liar (ATG), High Society (Regent’s Park Open Air Theatre), and Guys and Dolls, Educating Rita, Spring Awakening (Sheffield Theatre). For television, her work includes Scott & Bailey, Burn It, New Tricks, Candy Cabs, Dalziel and Pascoe, Vincent, The Royal, The Long Firm, MIT: Murder Investigation Team, Heroes and Villains, Keen Eddie, Where the Heart Is, Coronation Street (as series regular Sharon Bentley), Heartbeat, The Gingerbread Girl, Joking Apart, The Upper Hand, Rich Tea and Sympathy, Making Out; and for film, Shirley Valentine, Deep Red Instant, Knights and Emeralds.

Lara Denning plays Louise Lerman/Eve. Her theatre work includes Scrooge the Musical (Curve), The Secret Diary of Adrian Mole Aged 13¾ – The Musical (Menier Chocolate Factory), Charlie and the Chocolate Factory(Theatre Royal Drury Lane), Matilda (Cambridge Theatre), The Rocky Horror Show (European tour), Gotta Sing, Gotta Dance, All The Fun of the Fair, You Don’t Bring Me Flowers, Dirty Dancing in Concert (UK tours) and Can Can (Sadlers Wells). Her television work includes Toast of London.

Kim Maresca plays Judy Denmark, reprising the role she played Off Broadway in the most recent run of Ruthless! The Musical. She recently played her fifth sold-out engagement of her one-woman show at Feinstein’s/54 Below. Regional: Twelfth Night (Westport Country Playhouse), Biondella in The Taming of the Shrew (Saratoga Shakespeare Company) and Maureen in Rent (Thomaston Opera House).

Harriet Thorpe plays Myrna Thorn. She is perhaps best known for her role as Carole in the BBC’s popular Brittas Empire and Fleur in Absolutely Fabulous. Her West End credits include Great Britain (Theatre Royal Haymarket), Pravda, The Government Inspector, All My Sons, A Prayer for Owen Meany (National Theatre), Wicked (Apollo Theatre), Rufus Norris’ production of Cabaret (Lyric Theatre, UK tour and Savoy Theatre), Crazy for You (Regent’s Park Open Air Theatre and Novello Theatre), Tanya in Mamma Mia (Prince of Wales Theatre), Madame Thenardier in Les Miserables, The Vagina Monologues and Jackie O. Other theatre credits include A Midsummer Night’s Dream, Twelfth Night, Cymbeline (Regent’s Park Open Air Theatre), Street Car to Tennessee (Young Vic), Brighton Rock (Almeida Theatre) and Calendar Girls (Phoenix Theatre). Work with French and Saunders includes Girls on Top, French And Saunders series and most recently Vivienne Vyle. Other television work includes The Secrets: The Conversation, Material Girl, Victoria Wood’s Christmas Special and The Musketeers. Films include Absolutely Fabulous The Movie, Maurice, Greystroke, Mike Leigh’s Life is Sweet, Zefferelli’s Toscanni, Suzie Gold, Calendar Girls, The Calling, S.N.U.B., An Arm’s Length, Wise Girl and The Lady in the Van.

Richard Fitch trained at the Young Vic and the Liverpool Institute for Performing Arts. As a director, his credits include Top Hat (Arts Educational), Funny Girl (UK tour – also Associate Director for the runs at the Menier Chocolate Factory and Savoy Theatre), The Importance of Being Earnest (Theatr Clwyd), Much Ado About Nothing (Liverpool Institute for Performing Arts), Barnes’ People (Trafalgar Transformed), Serious Heroes, Twenty Four Hour Plays (The Old Vic), A Kid Like Jake (The TS Eliot US/UK Exchange, The Old Vic), The Moment Before I’m Powerful (Trafalgar Transformed), Land’s End (Birmingham REP), Last Man on the Heygate (Lyric Hammersmith), The Hour of Feeling (HighTide Festival with Public Theater, New York), The Welsh Atlantis(Latitude Festival) and The Boy Who Lived Down the Lane (Riverside Studios & Yong Siew Toh Conservatory of Music, Singapore).

The Menier Chocolate Factory will act as Executive Producer and General Manager for the UK première.

Ruthless! The Musical

Listings:

Arts Theatre

Great Newport Street, London, WC2H 7JB

Box Office: 020 7836 8463

www.ruthlessthemusical.com

Monday – Saturday evenings at 7.45pm

Thursday and Saturday matinees at 3.30pm

Tickets from £19.50

Midweek matinee concession rate available

Group rate available for 8+

Age guidance 10+

SPRING AWAKENING

AT HOPE MILL THEATRE, MANCHESTER

THURSDAY 29 MARCH TO THURSDAY 3 MAY 2018

An exciting cast and creative team has been announced for the major UK revival of acclaimed modern Broadway hit Spring Awakening, which opens later this month at the award-winning Hope Mill Theatre in Manchester.

Making up the cast is Darragh Cowley as Melchior (professional debut ahead of graduating Guildford School of Acting, 2018), Adam Dawson as Hanschen (recently in Hair at Vaults, London), Beth Hinton-Lever as Thea (Graeae’s Reasons to be Cheerful), Teleri Hughes as Ilse (professional debut, trained at Royal Welsh College of Music and Drama), Nikita Johal as Wendla (Children of Eden, Princess Caraboo), Gillian Kirkpatrick as Adult Woman (Sunny Afternoon, American Psycho, Sweeney Todd), Luke Latchman as Ernst (Twelfth Night & A Christmas Carol at the RSC, Working), Tim Mahendran as Otto (professional debut ahead of graduating Mountview Academy of Theatre Arts, 2018), Seyi Omooba as Martha (Ragtime, Little Beasts), Neil Stewart as Adult Man (Jersey Boys International Tour, Mrs Henderson Presents, Oresteia), Sophia Simoes Da Silva as Anna (professional debut), Jabez Sykes as Moritz (The Snow Queen, Kiss Me Quickstep) and Christian Tyler Wood as Georg (Jersey Boys International Tour, Big Girl’s Don’t Cry).

Following a casting process that took place across Manchester and London and included an open call out for submissions, Director Luke Sheppard has said: “We made a commitment to seeking out fresh new talent to bring Spring Awakening to life for a new generation, and after auditioning over 200 artists between London and Manchester, our cast embodies the bright future of musical theatre talent in Britain. It’s a privilege to work with them on this extraordinary piece.”

Luke Sheppard’s previous work includes: Jersey Boys (International Tour); The Secret Diary Of Adrian Mole Aged 13¾ (Leicester Curve and Menier Chocolate Factory); Working (Southwark Playhouse); Murder For Two (Watermill Theatre and The Other Palace); Peter And The Starcatcher (Royal & Derngate Theatre) and In The Heights (Winner of Three Olivier Awards 2016, Southwark Playhouse and King’s Cross Theatre).

Spring Awakening has design by Gabriella Slade, musical direction by Gareth Bretherton, choreography by Tom Jackson Greaves, lighting design by Nic Farman, sound design by Leigh Davies, and casting by Verity Naughton. Associate Designer is Sarah Mercadé, and Assistant and Resident Director is Annabelle Hollingdale.

The production runs from Thursday 29 March to Thursday 3 May and is the second of five in-house musicals this year from the successful collaboration between Hope Mill Theatre founders Joseph Houston and William Whelton, and co-artistic director and resident producer Katy Lipson, of Aria Entertainment.

Spring Awakening is co-produced with DEM Productions. Associate Producers include Upstage Creative, Rachel Kraftman Productions and Project One.

Katy Lipson said: ““We are delighted to be producing Spring Awakening as our 7th in-house musical at Hope Mill Theatre since opening in 2016. For this production we are proud to be working with London producer DEM Productions and welcoming an incredibly exciting award winning creative team and company to the theatre.”

Perhaps the defining musical of the last decade, Spring Awakening has music by Duncan Sheik and book and lyrics by Steven Sater and combines an electrifying rock score and genre-defying writing to tell the story of sexual and adolescent discovery.

Silenced and dismissed in the firmly censored world of 19th century Germany, a group of teenagers are forced to discover the truth behind their feelings unaided. They find that through each other they unlock a bold and brave new world – with both beautiful and tragic consequences.

Produced by Hope Mill Theatre founders Joseph Houston and William Whelton and co-artistic director and resident producer Katy Lipson of Aria Entertainment, and Ramin Sabi for DEM Productions.

Following Spring Awakening is Andrew Lloyd Webber’s romantic classic Aspects of Love (Thursday 5 July to Thursday 9 August 2018). Two more yet-to-be announced productions will follow in Autumn/Winter.

Tickets for Spring Awakening are on sale now at the Hope Mill Theatre website (https://hopemilltheatre.co.uk/events/spring-awakening-musical/)

LISTING INFORMATION

Spring Awakening

Hope Mill Theatre

Hope Mill, Ancoats, 113 Pollard Street

Manchester, M4 7JA

Thursday 29 March to Thursday 3 May 2018 Tickets from £16. Visit www.hopemilltheatre.co.uk

WEBSITE: www.hopemilltheatre.co.uk

FACEBOOK: Hope Mill Theatre

TWITTER: @Hopemilltheatr1 @Spring_Mcr

New plays from rising talent at Live Theatre’s Elevator Festival

New plays from writers and companies selected by Live Theatre for their exceptional new ideas will be show-cased in Elevator Festival, which returns for its third edition between Saturday 10 to Saturday 17 March 2018.

Picked as ones to watch in the new generation of theatre-makers, the companies were awarded a coveted Live Theatre bursary to develop their plays. Three of the four plays are being shown in front of an audience for the very first time at Elevator Festival.

Graeme Thompson, Creative Producer, Live Theatre said

“This is a fantastic opportunity to see an evening of plays by some of the hottest new talent currently making theatre. And to join them for insights into the theatre making process.”

The plays cover topics as diverse infamous Byker one man crime wave in Rat Boy written by Christina Dawson and Lee Mattinson, complete with a banging 90s rave soundtrack, and how one accident can change your perception of everything in Spoon Theory by Rebekah Bowsher. Rat Boy and Spoon Theory are presented as a Double Bill on Tuesday 13, Friday 16 and Saturday 17 March.

Two very different works-in-progress are presented. Paper. Scissors. Stone. by Fringe First-winner Katie Bonna tells the interwoven stories of three generations of women, through glitter-soaked songs inspired the golden age of musical theatre. See Paper. Scissors. Stone. at Elevator Festival onWednesday 14 March, following its premier at Vault Festival, London.

Nuclear Future by Gameshow is work-in-progress show for our volatile times that looks at nuclear weapons in a new light through video, sound and live performance, on Friday 16 and Saturday 17 March.

Elevator Festival Scratch Night will contain short extracts of very early stage work-in-progress from leading theatre artists from across the region on Thursday 15 March. Work presented includes a semi-autobiographical story and live original music from Live Theatre Associate Artist, and I, Daniel Blake Actor Kema Sikazwe, a look at gender and sexuality by Jonluke McKie and an exploration of being consumed the crowd by GIFT Festival Director Kate Craddock. Audience feedback helps shape future development of the shows.

The artists will also lead workshops and discussions as they give their insights into making new theatre.  Live Theatre’s incoming Artistic Director Joe Douglas will lead a Directors Masterclass on Saturday 10 March in his first event at Live Theatre, with a second workshop added at 2pm due to popular demand. Writer Katie Bonna and Director Hannah Joss share their insights into Making Theatre From Real-Life Stories and how to navigate the moral maze of presenting them on stage in a free workshop on Thursday 15 March.

Audiences at Elevator Festival last year said:

“What a flipping brilliant night of theatre.”

“Brilliant night, loads of talented writers and performers.”

“Loved it, great to see new theatre forming.”

Live Theatre has also launched it’s call out for its 2018 Bursary offering £2,000, support and space to develop innovative new theatre for next year’s Elevator Festival. See www.live.org.uk/bursary for details.

Tickets for plays in Elevator Festival cost between £3 and £8, with some events free, and the Director’s Masterclass £10. Live Theatre has extended availability of its concession priced tickets to include all young people aged 25 and under, proof of age is needed when booking or collecting tickets.

To book tickets and to find out more contact Live Theatre’s box office on (0191) 232 1232 orvisit www.live.org.uk/elevator.