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Leeds Playhouse – until 19 January 2019

Reviewed By Dawn Smallwood

5*****

The Christmas season has arrived in style at the Leeds Playhouse and what couldn’t be more fitting is their festive show, A Christmas Carol. It is an associated production with the Hull Truck Theatre and is based on Deborah McAndrew’s adaptation. The senses arouse many on arriving at the pop up theatre with its cosy and festive ambience greeting them.

Charles Dickens’ classic tells a story of Scrooge (Robert Pickavance) who learns about the spirit of Christmas from an abrupt visit by the ghost of Jacob Marley (Joe Alessi), a former business partner, and subsequent visits from the spirits of Christmas of the past (Tessa Parr) and present (Elexi Walker). Dickens is reputed to have studied deeply each of the characters he narrates about in his classics and the character of Scrooge is no exception. This adaptation gives ample opportunity that Scrooge isn’t painted the villain or just plain “Bah Humbug” instead the ghosts relate to his upbringing and to the choices he eventually makes.

A Christmas Carol was written during the Victorian times when Christmas and its customs were being fashioned and revived as known today. Dickens, known for his social consciousness, had raised awareness through his works about the ignorance concerning poverty among families and children. As well as celebrating Christmas many had been encouraged to consider the less fortunate through the spirit of giving.

This season’s ensemble of actors, under the direction of Amy Leach, delivers a heartfelt and entertaining performance. The production is supported by Hayley Grindle’s traditional and nostalgic staging and costumes that works so well with the story telling and Josh Carr’s lighting and Ed Clarke’s soundscapes. There are some engaging songs, under the arrangement of John Biddle, and the localised references is positively refreshing.

The stand out performance must be from Walker (Ghost of Christmas Present) who successfully engages with the audience in a pantomime style and certainly convinces Scrooge to embrace the Christmas spirit through compassion and kindness. Pickavance perfectly portrays Scrooge with his positive transformation of his somewhat complex but misunderstood character.

A Christmas Carol is a welcoming Christmas present and marks the festive season. The story commemorates the revival of modern Christmas however it magically embraces its spirit and qualities which resonates the season. It is certainly a production not to be missed during the Christmas Season.

 

Theatre Royal, York – Thursday 29th Nov 2018 and Friday 30th Nov 2018

Reviewed by Sally Richmond

5*****

The Comedy of Errors is a highly amusing and engaging production, that is the perfect introduction to the world of Shakespeare for young people aged from 7 to 13 years. Having said that, much laughter also came from the adult members of the audience and if you are a fan of The Bard, it is definitely worth taking a trip out in this current dismal weather to catch a performance at one of the many forth coming venues – as it is almost guaranteed to cheer you up!

The Royal Shakespeare Company’s First Encounters programme is bringing a series of productions aimed at a target audience of key stage 2 and 3 and they are also working with schools, giving children an opportunity to perform in their plays. For most, their first experience of Shakespeare, brought to them by the RSC, will be something that turns them onto this area of study in the English Literature curriculum.

Full of slapstick, live music, flossing and good humour, this Shakespeare comedy appeals to a multi-age audience and my own 10 year old daughter found it very entertaining. Some explanation and background was needed before seeing the show but she laughed in the right places, so it was age appropriate.

As with all Shakespeare’s comedies, the themes of mistaken identity, mix-ups and confusion are all present in this production. A man and his wife have twins who they both call Antipholus and to heighten the confusion further, they buy twin servants who are both called Dromio! The twins are separated in a shipwreck and one Antipholus and Dromio grow up in Syracuse, one Antipholus and Dromio end up in Ephesus. The play actually begins 33 years after the births of the Antipholus twins and the hilarity begins when the Syracusian Antipholus and Dromio arrive in Ephesus and everyone seems to know who they are, including a woman who is certain she is the wife of Antipholus.

The double Dromios (Lewis Griffin and Thomas Pickles) are responsible for most of the laugh out loud moments, while Paula James as Emilia has a sound connection with the audience and makes beautiful harmonies with her sweet voice which accompanies the backing music. The whole cast, directed by Alex Thorpe, are a crew of great talent and judging by their performances at The Theatre Royal, York – are rising stars of the future.

This year, along with many other pupils within their hometowns, York High students performed in the opening sequence of the 7pm public performance at the Theatre

Royal, York and the RSC also gave a performance at their school. This pupil participation programme is part of the RSC’s continuing series of First Encounters With Shakespeare and is touring nationwide from October to December. The dramas are made up of edited versions of the plays performed using Shakespeare’s original language, which the RSC has successfully been doing for more than a decade now.

Thorpe’s cast are: Hasan Dixon, as Antipholus of Ephesus; Jessica Dyas, as Angleo/Egeon; Aruhan Galieva, as Luciana/Duke Solinus; Lewis Griffin, as Dromio of Ephesus; Rhiannon Handy, as Adriana; Paula James, as Merchant/Emilia/Officer; Nicholas Karimi, as Antipholus of Syracuse, and Thomas Pickles, as Dromio of Syracuse.

Thorpe is joined in the creative team by Amelia Hankin, designer; Eamonn O’Dwyer, music; Simon Pittman, movement; Lisa Connell, fight choreography, and Edie Edmundson, puppetry director.

The Comedy of Errors is a perfect, fantastic first experience of Shakespeare but also one that can be thoroughly enjoyed by those who are well acquainted with The Bard too.

The Hippodrome Casino – booking until October 2019

Reviewed by Claire Roderick

3***

Fit young lads dancing around with their shirts off? What’s not to like?

After the success of Channing Tatum’s show in Las Vegas, Magic Mike comes to London ready for the party season. Before you get your knickers in a twist, Tatum only appears as the disembodied voice of the host’s imaginary spirit animal – the unicorn. The show doesn’t attempt to recreate the plots of the films, instead there’s a wafer-thin thread of a story as the host gives young waiter Michelangelo (Sebastian Melo Taveira) lessons in how to please women. Frankly, this doesn’t matter, as the dance moves of the men on stage, and prowling around the audience are all we’re here for. And the less clothes, the better. There is a lovely piece about consent and permission, with the host reminding the audience of the safe word “Unicorn” (of course!) if they ever feel uncomfortable, which highlights how far shows like this have come, alongside the cliché ridden introduction involving themed strippers and silly string that makes you squirm until Sophie and her magic mike take control.

The production is as slick and smooth as the dancers’ chests, with the guys showcasing their fabulous moves in a wide mix of styles before finally whipping off their trousers and giving a few lucky ladies what they want with lap dances involving dryhumping ranging from gymnastic to comedy gold.

The host, Sophie Linder-Lee at the show I saw, is determinedly British in her humour and innuendo, which jars a little with the swish US origins of the show, but she knows exactly how to get the crowd whooping while the guys prepare for the next set. The highlight of the show is an erotically charged dance duet from Melo Taveira and Hannah Cleeve performed under a cascade of water. Although this didn’t go down well with the entire audience. As the woman next to me said “I didn’t pay £125 quid to watch HER have all the fun!”

The prices are eye-watering for a 90-minute show, but Magic Mike is sold out for months, and new dates have been added, so this is obviously perfect girls’ night out material. The bucket sized cocktails help the atmosphere in the brilliantly designed space, and the men move around the upper gallery too so those in the (not that) cheap seats get an eyeful too. If you fork out for a VIP table or the front row, you are guaranteed lots of attention and most probably a lap dance.

If you’re looking for the full Monty, you won’t find it here – Magic Mike is raunchy fun but has an underlying sweetness about it, especially with the angelic Melo Taveira taking centre stage. A great, safe, night out with the girls

THE ROYAL THEATRICAL FUND ANNOUNCES ITS

CHRISTMAS FESTIVAL 2018

The Royal Theatrical Fund, a member charity of Acting for Others, today announces its Christmas Festival2018, with a fantastic line up of theatre royalty coming together in support of the charity. The festival takes place at the Charing Cross Theatre on Tuesday 11 December at 6.30pm.

The evening includes special appearances from Samantha Bond, Sir Derek Jacobi, Dame Maggie Smith, Peter Polycarpou, Harriet Thorpe and performances from The Royal Theatrical Fund Choir with more to be announced on the night.

Tickets are £20 and include mulled wine and mince pies.

www.trtf.com                                              Twitter: @theRTF1839

www.actingforothers.co.uk                      Twitter: @ActingForOthers

 

Christmas Festival 2018 

Listings

Charing Cross Theatre

The Arches, Villiers Street, London, WC2N 6NL

 

Ticket bookings: 0207 836 3322

Howard Assembly Room at Opera North, Leeds – until 2 December 2018

Reviewed By Dawn Smallwood

3***

Not Such Quiet Girls, a contemporary piece of work, makes its world premiere and is part of Opera North’s Before War and After season to commemorate the centenary of the ending of the First World War.

Written by Jessica Walker and co-produced by both Opera North and the Leeds Playhouse Not Such Quiet Girls is about women experiencing the war first hand serving at the front. The story is told by three characters, Mary (Tara Divina), Tony (Cora Kirk) and Harry (Laura Prior) and they are supported by an all female Chorus of Opera North.

There isn’t a lot of text that commemorates solely on women and their war efforts at the front during the First World War. Walker works innovatively and creatively with what is available and incorporates the experiences into this production. This includes women working as volunteer ambulance drivers and experiencing same sex relationships though at the time hidden from public consciousness. Not to mention the freedom they had from serving at the front abroad and away from home and its socialistic expectations and responsibilities. Not Such Quiet Girls explore these experiences with the three characters working as volunteers and a passionate relationship between Tony (Kirk) and Harry (Prior) emerges even if it’s constrained with “consciousness” and “duty”.

Opera North is known for its musical and operatic ingenuity and creativity and it was the case here with Joseph Atkins’ cleverly arranged music hall styled musical numbers. The numbers are performed beautifully by all the cast which fully supports the story being told. However it is felt that the spoken texts between each of the songs could have been projected more with appropriate soundscapes and movements.

The production, under the direction of Jacqui Honess-Martin, is well staged and intimate with its war costumes, courtesy of Polly Sullivan. The space is well used with the action happening in the middle of the hall as opposed on a traditional stage at the front and the production is certainly well co-ordinated and delivered.

Opera North ought to be commended for their creativity in bringing a variety of collaborative productions on stage and link to themes and past events that significantly matter to the past, present and certainly in the future. Not Such Quiet Girls along with Kevin Puts’ Silent Night are appropriate choices this season for commemorating the 1918 Armistice.

 

SHEFFIELD THEATRES COMMUNITY OUTREACH WORK RECEIVES GALA BOOST

 

Sheffield Theatres held its annual fundraising gala on Thursday 8 November to generate support for its extensive community engagement programme. The event raised £53,000 which will enable the Theatres to continue its programme of Dementia Friendly activity as well as expanding its work with children and young people in the City Region.

The annual event includes a stunning three course meal served on the Crucible stage – allowing guests the unique experience of enjoying an actors-eye view of the iconic theatre. In addition, there were performances from the company of Kiss Me, Kate, and a finale which brought Everybody’s Talking About Jamie alumni, Josie Walker, back to the Crucible to perform the heart-wrenching He’s My Boy.

An auction of money-can’t-buy theatrical prizes formed the centre-piece of the gala, which featured: the opportunity to spend a day on set of the film of Everybody’s Talking About Jamie, with a chance to feature in a walk-on part; exclusive access to the band call for Standing at the Sky’s Edge when Richard Hawley’s music and songs will be performed by the company for the first time; and the chance to win dinner with Sir Ian McKellen.

The funds raised go towards Sheffield Theatres’ vital community projects, including engagement with young people and schools, and Dementia Friendly projects.

Dan Bates, Chief Executive at Sheffield Theatres, said: ‘This remarkable result is testament to the tremendous support we receive from our donors and supporters. The passion and talent of the team here, combined with the overwhelming commitment of our donors makes for a fantastic night that will make a huge difference to our city and its citizens over the coming year.’

Robert Hastie, Artistic Director added: ‘It’s an exciting time at Sheffield Theatres. Our programme to ensure our theatres are for everyone is expanding at a thrilling rate: from Dementia Friendly projects; growing numbers of Relaxed, Captioned, BSL interpreted and audio described performances; opportunities for local artists through our Making Room; Fun Labs and Fun Palaces; outstanding engagement with children and young people through schools programmes and ticketing initiatives, we are doing more than ever before.

 

We belong to everyone and we’re committed to ensuring that anyone can be part of what we do on our stages, in our buildings and across our city. The gala was a celebration of that energy, and the money we raised will help to realise our ambitions. We’re very, very lucky to have friends and supporters in the city who share our determination to make great things happen.’ 

Theatre Royal Windsor – until 6th January 2019

Reviewed by Heather Chalkley

4****

Steven Blakeley and Robert Miles have written a great script with a good balance of traditional panto, interwoven with present day songs, plenty of bawdy humour and slapstick jokes. Basil Brush is timeless and sets Windsor’s panto apart from the crowd, alongside awesome vocals from Marti Webb (Fairy Bowbells) and Megan Jones (Alice Fitzwarren). Anita Harris (Queen Rat) made a devilishly classy villain – we could have had another song from her perhaps. Apart from the surprise rock ‘n’ roll number from Mike Read (Alderman Fitzwarren/Captain Fisheye), he was a bit lacklustre throughout and needs lessons in musical comedy theatre!

Stars of the show for me were Kevin Cruise (Idle Jack) and Steven Blakeley (Sarah the Cook), bringing the full panto experience to life with their ad libbing and great comic timing. Sarah the Cook had me laughing from the moment she came on to the stage. Idle Jack’s Abba scene got the whole audience to their feet and dancing. My only slight disappointment, I have seen the classic 12 Days of Christmas and ‘it’s behind you’ scenes delivered better, however they still got
the audience to spontaneously participate.

The costumes gave life to the caricatures and proper glamour and glitz throughout. The young performers and ensemble really lit up the show with their professionally delivered dance routines. The production team took full advantage of the beautiful old theatre, celebrating 80 years of panto there this year! An all round family entertaining performance.

FULL CASTING ANNOUNCED

FOR

DOLLY PARTON’S

9 TO 5 THE MUSICAL

Music and Lyrics by Dolly Parton, Book by Patricia Resnick

and Directed by Jeff Calhoun

Based on the 20^th Century Fox Picture

BONNIE LANGFORD

JOINS

LOUISE REDKNAPP, AMBER DAVIES, NATALIE McQUEEN

AND BRIAN CONLEY

AT THE SAVOY THEATRE FOR STRICTLY LIMITED SEASON

28 JANUARY – 31 AUGUST 2019

Dolly Parton is delighted to announce full casting for 9 TO 5 THE MUSICAL at the Savoy Theatre, London for a strictly limited season from 28 January – 31 August 2019. Bonnie Langford will play ‘Roz Keith’, joining the previously announced Louise Redknapp as ‘Violet Newstead’, Amber Davies as ‘Judy Bernly’, Natalie McQueen as ‘Doralee Rhodes’ and Brian Conley as ‘Franklin Hart’.

The cast also includes Victoria Anderson, Alexander Bartles, Ashley Campbell, Simon Campbell, Rhiane Drummond, Demmileigh Foster, Llandyll Gove, Lucinda Lawrence, Jenny Legg, Christopher Jordan Marshall, Natasha Mould, Sean Needham, Jon Reynolds,  James Royden-Lyley, Giles Surridge, Sasha Wareham and Emily Woodford.

Bonnie Langford was most recently seen as ‘Carmel Kazemi’ in “EastEnders” for which she won a 2015 British Soap Award. She can currently be seen as ‘Dorothy Brock’ in 42^nd Street” at the Theatre Royal Drury Lane. Her other West End credits include the original cast of “Cats”, “Me and My Girl”, “Sweet Charity”, “Dirty Rotten Scoundrels” and “Spamalot”. She played ‘Roxie Hart’ in “Chicago” at both the Adelphi and Cambridge theatres as well as on Broadway. Her touring credits include “Fosse”, “Guys and Dolls” and “9 to 5 The Musical”. She appeared in the 2006 series of ITV1’s “Dancing On Ice”, skating her way to the final and returning for the All Stars season in 2014.

Louise Redknapp most recently starred as ‘Sally Bowles’ in the national tour of “Cabaret”. In 2016 she reached the final of “Strictly Come Dancing”. As a musician Louise has sold millions of records. She was a member of the band Eternal before embarking on a highly successful solo career, with her first live shows in 15 years selling out all over the UK.  Amber Davies graduated in 2016 with a Diploma in Musical Theatre from the Urdang Academy. Her credits whilst training include “Bring It On”, “My Favourite Year” and “Memphis”. Last year, Amber was the winner of the hit ITV reality series “Love Island”. Natalie McQueen is currently appearing in the West End as ‘Lauren’ in “Kinky Boots” at the Adelphi Theatre. Her other credits include “Murder Ballad” at the Arts Theatre, “Wicked” at the Apollo Victoria and “Les Misérables” at the Palace Theatre. Natalie has also appeared in the UK and Ireland tour of “Wonderland”. Brian Conley’s many West End credits include ‘Edna Turnblad’ in “Hairspray” at the Shaftesbury Theatre, ‘Caractacus Potts’ in “Chitty Chitty Bang Bang” at the London Palladium, the title role in “Jolson” at the Victoria Palace and ‘Bill’ in “Me and My Girl” at the Adelphi Theatre. His touring credits include the title role in “Barnum” and ‘Fagin’ in “Oliver!”. Brian’s TV credits include “An Audience with Brian Conley”, “The Grimleys” and “The Brian Conley Show”, all for ITV.

9 TO 5 THE MUSICAL features a book by Patricia Resnick, the legendary film’s original screenwriter, and an original Oscar, Grammy and Tony award-nominated score by country legend and pop icon Dolly Parton. It tells the story of Doralee, Violet and Judy – three workmates pushed to boiling point by their sexist and egotistical boss. Concocting a plan to kidnap and turn the tables on their despicable supervisor, will the girls manage to reform their office – or will events unravel when the CEO pays an unexpected visit? Inspired by the cult film this hilarious new West End production is about teaming up, standing up and taking care of business!

 

9 TO 5 THE MUSICAL is written by Patricia Resnick, with music and lyrics by Dolly Parton. It is directed by Jeff Calhoun, choreography by Lisa Stevens, design by Tom Rogers, lighting design by Howard Hudson, musical supervision, arrangements and orchestrations by Mark Crossland, musical direction by Andrew Hilton and casting by Victoria Roe.

9 TO 5 THE MUSICAL Original Broadcast Cast Recording is planned for re-release via Dolly Records/Sony Music.

Based on the 20^th Century Fox Picture. Originally produced on Broadway by Robert Greenblatt, April 2009.

9 TO 5 THE MUSICAL is produced by Ambassador Theatre Group and Selladoor Worldwide with Gavin Kalin Productions, Glass Half Full Productions, Showtime Theatre Productions, Hartshorn – Hook Productions and Kilimanjaro Live.

LISTINGS INFORMATION

9 TO 5 THE MUSICAL

Savoy Theatre, Savoy Court, London, WC2R 0ET

Limited season – 28 January – 31 August 2019

Box Office: 0844 871 7687

Performances: Monday – Saturday 7.30pm, Wednesday and Saturday 2.30pm

Website: 9to5themusical.co.uk

Instagram[http://:%20www.instagram.com/9to5themusicaluk/]: @9to5themusicaluk

[http://Facebook:%20www.facebook.com/9to5TheMusicalUK/]Facebook: 9to5TheMusicalUK

Twitter: @9to5MusicalUK

YouTube: 9 to 5 The Musical

Manchester panto transforming lives through participation –  It’s Behind You, The Edge Theatre’s Christmas show performed by a company of adults who are homeless  

An Edge production in association with The Booth Centre

It’s Behind You 

13- 15 December 2018. 

 

As panto season gets into full swing across the country, The Edge Theatre – a unique award-winning arts space based in Chorlton, Manchester – is preparing to stage a pantomime with a difference. 

IT’S BEHIND YOU is performed by a company of adults who are homeless. In addition to providing an entertaining night out, the theatre’s alternative Christmas panto offering is credited with transforming lives through the opportunity to participate in high quality art.

 

Created in association with The Booth Centre, the pantomime is directed by Janine Waters, co-founder and artistic director of The Edge, Manchester’s award-winning theatre for participation. IT’S BEHIND YOU is performed by a company of 15 individuals from varying backgrounds aged from 21 to 70s, who are all either currently homeless or at risk of homelessness. This is the third year that The Edge is staging its annual pantomime and many of the company are returning – these include Danny Marlow (21), who says:

 

“I found myself homeless two years ago while at university – I fell in with a bad crowd, and lost everything. I slept rough on doorsteps, in tents and under bridges. It felt awful, it was lonely – I had nobody and nothing. Eventually I knew I needed to make a change and I visited The Booth Centre for some help. From there, I became involved in the weekly drama sessions with Janine Waters. The sessions gave me the chance to forget my problems, concentrate on something I’m good at, and the chance to be someone else. My confidence has really improved. I’ve got a bounce back in my step and a smile on my face, it feels like I’ve found myself again. I’m in accommodation now, and working towards getting myself sorted.”

 

The opportunity to take part in IT’S BEHIND YOU makes a real impact in transforming lives, creating self-confidence and being an outlet for change – leading to positive experiences that can help counter negative behaviours and risks associated with being a vulnerable adult in a situation of homelessness.

 

Janine Waters, artistic director of The Edge says,

 

“It is such a privilege to be part of this unique theatre company, who work extremely hard to produce high quality, entertaining theatre despite the adversity that they face in other areas of their lives. We work hard, but we have so much fun – you wouldn’t believe the joy in the rehearsal room. People who may have slept rough the night before turn up ready to work, fully committed to each other, to the professional singers and creative team, and to achieving something that they can be proud of. The benefits are huge and life changing.

 

Many of our actors do not have contact with their families and tell us that the theatre company at The Edge has become their family. We work together, we support each other, we take individual and collective responsibility. Working in partnership with the Booth Centre means that together, we are able to provide a holistic approach to improving people’s situations. Of course housing, access to health care and employment are vital, but in order to address some of the issues that might have made people homeless in the first place, so too are the skills developed by being part of The Edge’s theatre company.  The skills that will then help people stay in their new accommodation and employment.

 

People have learnt to read because they want to learn their lines and follow the script. Theatre helps people develop their emotional literacy and empathy, conflict resolution and anger management. People who have been the victims of abuse and exploitation (which many vulnerable people sleeping on our streets have) can carry anger with them throughout their lives.  Our theatre company puts a great deal of emphasis on developing the communication skills that bring about a peaceful end to a situation of conflict. And theatre gives us access to stories and stories help us imagine a better life for ourselves; they help us to see alternative narratives to the ones we’ve found ourselves in and to re-write our stories if we don’t like them.

 

Achieving personal goals and being publicly rewarded for it can change the way you feel about yourself in quite a profound way. Raising self-esteem is an essential component in improving life chances. Taking part in these productions is an incredibly powerful tool to help people begin to see themselves in a new and positive light. You just have to sit in the audience and watch them perform and you’ll see what I mean.”

 

 Homelessness in Manchester has risen 41% in the past two years. CEO of the Booth Centre, Amanda Croome MBE, says of the work, “Drama has a transforming effect….many members of the group have moved onto employment, to take up education and training courses, or have entered detox, as a direct result of the boost they have got from working with The Edge”

 

Tickets for It’s Behind You are now on sale. The recommended age is 16+. For more information please visit:http://www.edgetheatre.co.uk