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Grand Opera House York  – until Saturday 2nd June 2018.

Reviewed by Michelle Richardson

3***

This week the touring production of Summer Holiday The Musical, has hit the beautiful city of York. Based on the 1960’s iconic film starring Cliff Richard, it promised to be the feel-good musical of the year, bringing us music, fun and laughter, but did it deliver all that was promised?

This is the story of Don (Ray Quinn), a bus mechanic, who with the help of friends Steve, Edwin and Cyril, renovate an old London bus in order to escape the unpredictable English weather and have an amazing summer holiday. Their plan is to go to the South of France and visit St Tropez, after all there is guaranteed sunshine. In this case though, best laid plans go awry when they encounter a stranded group of girl singers on their way to Athens for a gig. Plans change and the bus is rerouted across the Alps to Italy and then Greece. Even then on their merry way they manage to pick up a stowaway Bobby, or should I say Barbara (Sophie Matthew), who isn’t the young lad that she pretends to be, but an American singer escaping the pressures her domineering mother has heaped upon her.

I waited in excitement, along with the audience around me, for that curtain to go up and to be whisked away on a Summer Holiday. Once the band started playing and the cast singing it became obvious that there was an issue with the sound. The band, though very good, were just far too loud and the voices of the singers far too quiet, I for one couldn’t make out anything that was being sung and listening to the comments around, I wasn’t the only one. This did go on for quite a while, but did improve when Quinn appeared on the stage, not sure if it was a mic issue or if he just had stronger vocals. As the show progressed the rest of the casts vocals were not quite as drowned out but were still not loud enough. When the bus first appears on the stage it is a sight to see, moving all over and becoming an integral part, as it should.

Quinn was a charming and charismatic Don. Quinn is a great singer and dancer, definitely the star of the show, it was engaging to watch him on the stage, a natural performer. My only criticism though was his accent. At times it was a bit all over the place and was trying to be too posh (not succeeding), after all the character is a working man from London in the 60’s.

I also enjoyed watching Billy Roberts as Steve, on the stage, a bit of a cheeky chappy who is a terrific dancer and singer, even when things were flying out of his pocket during the encore. All credit must go to the passionate cast, who were so very energetic and sang and danced their hearts out non-stop, even with the sound issues. I must mention the goats!! A surreal and totally bonkers part of the show that got me laughing in the car on the way home, even now it makes me chuckle. I’m not going to say anymore, I don’t want to ruin it for anyone.

The first act was not that great but I’m glad to say that things did improve in the second act. Unfortunately the show was just lacking that special something that would, and should have made it a great show, one that I was so looking forward to. Hopefully as the tour continues things will improve and it will become the musical that it promises to be. It is worth giving this show a chance.

NEW BOOKING PERIOD ANNOUNCED FOR THE LONDON PRODUCTION OF

H A M I L T O N

Jeffrey Seller and Cameron Mackintosh announce today (31 May 2018) that a new booking period for the London production of HAMILTON will go on sale on Monday 4 June 2018 at 12 noon GMT.  Tickets will then be available to be purchased for performances to Saturday 30 March 2019via official HAMILTON ticketing channels.

HAMILTON has book, music and lyrics by Lin-Manuel Miranda, is directed by Thomas Kail, with choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire and is based on Ron Chernow’s biography of Alexander Hamilton.  HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg and hair and wig design by Charles G. LaPointe.

HAMILTON is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and helped shape the very foundations of the America we know today. The score blends hip-hop, jazz, blues, rap, R&B and Broadway – the story of America then, as told by America now.

Full ticketing information can be found on the official website at hamiltonthemusical.co.uk which includes details of the HAMILTON West End £10 daily Lottery.  In addition, Patrons are advised to check the official HAMILTON channels for news of late release seats which may become available at short notice.   The producers of HAMILTON are working to combat the unauthorised profiteering of third party resellers and ticket touts.  Delfont Mackintosh Theatres has pioneered for the West End a paperless ticket system for this production – HAMILTON Paperless Ticketing, powered by Ticketmaster.

HAMILTON is produced in London by Jeffrey Seller, Sander Jacobs, Jill Furman, The Public Theater and Cameron Mackintosh.

LISTINGS INFORMATION

Dates                               now booking to Saturday 30 March 2019

Theatre                            Victoria Palace Theatre, Victoria Street, London SW1E 5EA

Performances                    Monday – Saturday at 7.30pm, Thursday and Saturday at 2.30pm

                                      For Christmas schedule check website

Website                            hamiltonmusical.com/london

Social Media                      facebook.com/HamiltonWestEnd

twitter.com/HamiltonWestEnd

instagram.com/HamiltonWestEnd

                                      #HamiltonLDN

Kings Theatre, Glasgow – until 2 June 2018

Reviewed by Linda McLaughlan

5*****

One of the most moving, emotional performances adapted for the stage I have watched in a long time.

The reality of what soldiers went through during the lead up to the Great War and the Somme was brought to minds of everyone who watched last nights performance of Birdsong. Reading the book and seeing the screen show did not allow you to feel the emotions that emanated from the stage from the remarkable performance from a truly outstanding cast. The audience were able to truly feel the fear and heroism of the brave men who fought above and below ground (known as the Sewer Rats) for a war that the truly may never have understood. Young boys who lied about their age to enlist, brothers, fathers and sons all fought shoulder to shoulder and many died, some by their own hand from fear of what lay ahead.

The performance laid bare the fears felt my many through this period of time but also a feeling of camaraderie shone through in the performance from Jack Firebrace (played by Tim Treloar), Stephen Wraysford (played by Tom Kay) and Arthur Shaw (played by Simon Lloyd). The underlying story behind the performance was one of love, lust and the longing to be home with family and in the distance throughout you could here the faint sound of the lark singing amidst the intervals of the bombings.

If you are interested in the events of the Great War and love the works of Sebastian Faulks then go see this performance….. you will not be disappointed.

Lyceum Theatre, Sheffield – until Saturday 2nd June 2018

Reviewed by Melanie Torley

4****

This House is set in 1974 and writer James Graham takes us through the political turmoil of a hung Government and Labour’s struggle to stay in power with the narrowest of seats. It’s a fictional account but has been inspired by true events.

The play starts with a select number of the audience being invited on to the stage to make up the back benches. In the middle of stage are the Whips’ offices from the two opposing parties and the fast-moving play weaves between these offices and the underbelly of Westminster. The scenery captures the essence of the Palace of Westminster wonderfully.

There are a lot of strong character’s throughout the show and special mention has to go to Martin Marquez (Bob Mellish) and William Chubb (Humphrey Atkins) who both portray their characters to a tee. Natalie Grady plays the strong woman Ann Taylor who is trying to make her way in a male orientated world, and manages to stand shoulder to shoulder with the men and hold her own quite nicely. Then there’s the minister who is brought in to Westminster less than a week after giving birth and has to breastfeed in the Whips office, causing much consternation. There’s a brilliant moment in the show when Louise Ludgate (MP for Coventry South West) shows her defiance of the Whips.

This review wouldn’t be complete without a nod to the live band, who supported the cast throughout the show.

All in all I would say this is a show worth seeing. There’s some genuine laugh out loud moments and will keep you on the edge of your seat with all the high and lows of the political engine room.

Grand Theatre, Leeds – until 2 June 2018

5*****

Although I know who Carole King is – my parents had a vinyl version of Tapestry – I wasn’t aware just how many songs she was responsible for.  Thankfully now I’ve seen Beautiful in Leeds, my music knowledge is slightly more complete.

Bronte Barbe stars as King in the show’s first (and hopefully not last) national tour.  From the emotive vulnerable performance of Its Too Late and resilient You Make Me Feel Like A Natural Woman, Barbe’s performance is flawless and awe-inspiring.  Her excellent Brooklyn accent serves as a constant reminder of her humble roots and her striving not just for success but for the normality of suburbia.

Covering the early part of the singer’s career as 17-year-old Carole Klein, living with her divorced mother, Genie, (Carol Royal) in Brooklyn. Working with lyricist-boyfriend Gerry Goffin (Kane Oliver Parry), the story focuses on the struggle and the heartache that preceded the breakout success of King’s 1971 Grammy-winning solo album Tapestry, including the hits most associate with her today.

After meeting with producer Donnie  Kirshner (Adam Howden), Carole gets her lucky break composing while she attends high school with Gerry.  The two produce their first hit Some Kind of Wonderful followed by Will You Still Love Me Tomorrow. With King-Goffin songs like Up on the Roof, The Locomotion (sung by their real-life babysitter, Little Eva) and One Fine Day, the soundtrack is boosted by friendly rival songwriting duo Barry Mann (Matthew Gonsalves) and Cynthia Weil (Amy Ellen Richardson), who contribute immortal tunes like the Righteous Brothers’ You’ve Lost That Lovin’ Feeling and The Drifters’ On Broadway.  The pair effortlessly complement Barbe and Parry.  Richardson strong and sassy as Cynthia and Gonsalves awkward but lovable as Mann.  

Unlike many Jukebox musicals which shoehorn songs into a weak and questionable plot, Beautiful has a true story to tell, and it doesn’t shy away from the facts.  With marriage, success and two babies, all seems right with King’s life just as Goffin starts exhibiting signs of mental stress and infidelity.  Parry embodies the role with swagger, warmth and intensity – seducing the audience with velvet vocals and boyish charm. Despite his flaws, you warm to his portrayal of the broken and mentally unstable Goffin and empathise with his plight

The many iconic stars of the 60’s and 70’s (Neil Sedaka, The Drifters, The Righteous Brothers, The Shirelles, Little Eva) are all played by the ensemble, the choreography by Josh Prince along with the talented vocals and high energy drive the show forward.  The live band create the sound of the 60’s under the Musical Direction by Patrick Hurley

While many audience members recall the songs from the days when they were still hits, everyone can enjoy Beautiful. The songs are timeless.  And King’s struggle to enjoy life and her realisation that she too can sing her own songs leading her to become a true musical phenomenon.  Catch the show in Leeds until Saturday and on tour around the UK, then you too like me can sit and have the startling realisation of just how prolific and talented Carole King really is 

Park Theatre presents the World Premiere of
END OF THE PIER

11 July – 11 August 2018| Park Theatre

Les Dennis, Nitin Ganatra, Tala Gouveia and Blake Harrison are to star in powerful new black comedy End Of The Pier, coming to Park Theatre from 11 July. As a former national treasure begins to reflect on his fading career and embrace his dimming stardom, his life is upended by the surprise arrival of the nation’s favourite young comedian.

Bobby (Les Dennis) was once a household name with 20 million TV viewers – but now the laughter has faded. Resigned to a life of solitude and second-rate panto performances, his glory days are behind him. When Michael (Blake Harrison), the nation’s favourite comedian, arrives at his door asking desperately for help to save his career, Bobby is unwillingly thrown into the limelight once again. A dark question lurks behind the laughs: What if, inside, you’re not the person everyone thinks you are?

‘I used to dream of people remembering my jokes. Now I just wish they’d forget.’

End of the Pier is penned by acclaimed writer Danny Robins (Rudy’s Rare Records, starring Lenny Henry at Hackney Empire and on Radio 4, and Radio 4’s The Cold Swedish Winter). The production is directed by Hannah Price, Co-Artistic Director and Founder of Theatre Uncut, whose directing credits include Again(Trafalgar Studios), Call to Prayer (Southwark Playhouse) and The Rise of the Right (The Young Vic).

Les Dennis is one of the UK’s best-known entertainers. Born in Liverpool, he came to prominence as a comedian in the 1970s after honing his craft on the northern Working Men’s Club circuit and turning pro after a winning set on Opportunity Knocks. He became a stalwart of Saturday Night TV in the 80s and 90s, starring in TV comedies including The Russ Abbot Show and The Les Dennis Laughter Show performing sketches and impressions, and most famously as the host of Family Fortunes between 1987 and 2002 on ITV. His stage credits include The Addams Family (UK Tour), She Loves Me (Menier Chocolate Factory) and Spamalot (West End).

Blake Harrison starred in three series and two subsequent films of the multi-award-winning comedy The Inbetweeners. His other film credits include the 2016 remake of Dad’s Army (in which he played Private Pike), Keeping Rosy and Madness in the Method. Harrison’s TV work includes three series of US comedy The Increasingly Poor Decisions of Todd Margaret, as well as A Very English Scandal, Prime Suspect: 1973, Trust Me, Way to Go and Him & Her. His stage credits include Step 9 of 12 (Trafalgar Studios). He recently made his directorial debut with the short film Hooves of Clay.

In addition to his popular role as Masood Ahmed in EastEnders (BBC One), Nitin Ganatra’s stage roles have included Animal Farm (Belgrade Theatre), As I Lay Dying (Young Vic), D’Yer Eat With Your Fingers? (Stratford East Theatre) and Haroun and the Sea of Stories (National Theatre).  

Tala Gouveia is best known for her roles in Scream Street (CBBC), Fit (CBBC), Tracey Ullman’s Show (BBC One) and Love Sick (Channel 4). Her stage credits include The Here and This and Now (Southwark Playhouse), Husbands and Sons (National Theatre), The Mountaintop (New Vic Theatre) and A Midsummer Night’s Dream (The Globe).

Southwark Playhouse – until 23 June

Reviewed by Claire Roderick

5*****

It’s lucky that Southwark Playhouse is relocating, because this magnificent production of the Rink is guaranteed to blow the roof of this building at every performance. Last seen in London nearly 20 years ago, Kander and Ebb’s boardwalk musical is a must see.

Set in a dilapidated roller skating rink in a failing boardwalk community, Anna has sold up and is planning to leave town. As the demolition crew set to work, Anna’s estranged daughter Angel reappears after 7 years and cannot accept the fate of her childhood home. Seemingly lost and rootless, Angel clings to her past and the rink, full of happy but idealised memories of her father. Anna’s memories are more realistic and bittersweet, and she just wants to start afresh. Flashbacks slowly reveal the truth and pain of the women’s lives as they struggle to find common ground. Yes, it’s not exactly action-packed, and every word is designed to emotionally manipulate you, but when it’s Terrence McNally’s gritty and witty book that’s putting you through the ringer, you are more than happy to go along for the ride. Throw in some of Fred Ebb’s bitchiest lyrics, and you’re in musical heaven. Joe Bunker’s band make every note count, but the final minutes are accompanied, not by music, but by the snuffles and sniffles of the audience as the emotional tsunami finally overwhelms.

The show relies on casting two strong leading ladies, and Adam Lenson has hit the double jackpot with Caroline O’Connor and Gemma Sutton as the warring women. Their chemistry is phenomenal, and both give powerhouse performances full of fire and passion but always revealing the underlying sense of loss. The six-strong male ensemble, multi-roling as the demolition team and people from the women’s past, are brilliant. As Dino, Angel’s long-lost father, broken by the Korean War, Stewart Clarke is unforgettable. Seamlessly slipping between playing nuns, teenage thugs or middle-aged women (Ross Dawes and Ben Redfern in the fantastic What Happened To The Old Days?), the ensemble showcases Fabian Aloise’s fantastic choreography, especially in a showstopping performance of The Rink (on roller skates of course) that will make you want to leap from your seat with joy.

This production of The Rink is sheer perfection. This is one of the best shows and best casts I’ve ever seen – grab your ticket, and tissues, NOW.

Theatre Royal Haymarket, London – until 28 July 2018

Reviewed by Sharon MacDonald-Armitage

2**

There has clearly been a switch of genre with Christopher Hampton’s adaptation of Moliere’s Tartuffe as it is a struggle to find anything comedic about it. Considering this play is regarded as a shining example of classic French comedy, one that was controversial in its day, this satirical play was lost somewhere in Hampton’s adaptation and Gerald Garutti’s direction.

Set in current day Los Angeles, Oregon (Sebastian Roche), a French billionaire, invites religious evangelist Tartuffe (Paul Anderson) into his household and allows him to infect his home with his manipulation and duplicity. The deceitful betrayal is lost, as Anderson’s Tartuffe is far too louche and laid back in a hippy way to be taken as a real threat.  Despite warnings from his family Oregon refuses to believe in the destructive nature of Tartuffe, whom Oregon has offered his daughter’s hand in marriage, and only his wife Elmire (Audrey Fleurot) manages to manipulate him and show him up for the ‘devil’ he is. Fleuret is statuesque in her stage presence and is a shining light amongst the cast.

The set which appears interesting and surreal on first viewing – a lit Perspex box ‘floating’ inside another box – but turns out to be of little value to the production. It creaks its way up and down stage like an old barn door and is probably of more comedic value than the production itself.

The switching between French and English does not add to the production, in fact it is distracting as there is no logic as to what actor speaks in what language and when. Anderson adopts a distinct Southern American drawl which appears to reflect his Bible Belt American Evangelist stance and perhaps isolates him somewhat amongst the French speakers; if that is the case it also appears to isolate the audience.

However, there is also a clear feeling that the audience seem somewhat bemused and disengaged. Laughter is thin on the ground, other than a few random raucous roars dotted from around the auditorium and the odd embarrassed titter here and there. All the opportunities to laugh at Moliere’s writing have been beaten out of this production. There should be an opportunity for some dark comedy, alas, this is not optimised. Also, how long can these Donald Trump analogies continue to have any effect?   

What a shame that this production comes across as self-indulgent as it makes the whole evening drag.  Not one to recommend.

REHEARSALS BEGIN TODAY FOR

WORLD PREMIERE OF ALAN BENNETT’S

ALLELUJAH!

As rehearsals begin, casting is announced for the world premiere of Nicholas Hytner’s production of Alan Bennett’s Allelujah! at the Bridge Theatre.

The cast comprises Samuel Barnett, Sam Bond, Jacqueline Chan, Jacqueline Clarke, Sacha Dhawan, Rosie Ede, Patricia England, Deborah Findlay, Peter Forbes, Julia Foster, Manish Gandi, Colin Haigh, Richard Hart, Nadine Higgin, Nicola Hughes, Anna Lindup, Louis Mahoney, David Moorst, Jeff Rawle, Cleo Sylvestre, Gwen Taylor, Sue Wallace, Simon Williams, Duncan Wisbey and Gary Wood.

Allelujah!, designed by Bob Crowley with choreography Arlene Phillips, lighting by Natasha Chivers and music by George Fenton, runs from 11 July to 28 September 2018, with opening night on 18 July.

The Beth, an old fashioned cradle-to-grave hospital serving a town on the edge of the Pennines, is threatened with closure as part of an NHS efficiency drive. Meanwhile, a documentary crew eager to capture its fight for survival follows the daily struggle to find beds on the Dusty Springfield Geriatric Ward, and the triumphs of the old people’s choir (newest member: the Pudsey Nightingale). 

Allelujah! will be the tenth collaboration between Bennett and Hytner.  They first worked together on Bennett’s adaptation of The Wind in the Willows for the National Theatre in 1990.  Then followed The Madness of King George III, The Lady in the Van and The History Boys, all of which were also seen on film,The Habit of Art, People and the double bill Untold Stories.

Alan Bennett is a playwright, screenwriter, actor and author.  Following a hugely successful writing and performing debut in 1960 at the Edinburgh Festival with Beyond The Fringe, his first play Forty Years Onwas produced in 1968.  Bennett is the recipient of numerous awards for his work with Hytner including, forThe History Boys, the Olivier, the Critics’ Circle, the Evening Standard and South Bank Show awards as well as multiple Broadway honours.

Nicholas Hytner is, with Nick Starr, Founding Director of the London Theatre Company.  He was Director of the National Theatre from 2003 to 2015, where the productions he directed included The History Boys,Hamlet, One Man, Two Guvnors, and Othello. His films include The Madness of George III, The Lady in the Van and The History Boys.  His book Balancing Acts was published by Jonathan Cape last year.  Hytner directed Young Marx, the opening production the Bridge, as well as Julius Caesar.

LISTINGS

Address:                                        Bridge Theatre, 3 Potters Fields Park, London, SE1 2SG

Box Office:                                   0333 320 0051 or [email protected]

Tickets for Allelujah! are priced from £15 to £65 with reduced prices for previews and midweek matinees. A limited number of premium seats are also available. A special allocation of £15 seats are held for Young Bridge, a free scheme for those under 26.

Access:                                          0333 320 0051 or [email protected]

Website:                                        www.bridgetheatre.co.uk

Twitter:                                         @_bridgetheatre

Instagram:                                     _bridgetheatre

Facebook:                                      facebook.com/bridgetheatrelondon