An intriguing soup of elements is contained within this show. It describes itself as part theatre, part drag cabaret which ‘fuses storytelling, vaudeville, theatre, lip-synch and boylesque’.
On arrival, you find yourself as part of the audience at the drag cabaret. It’s from this stage, designed as a catwalk strip for striding with feathers and shiny sparkles, that all of the storytelling from Tehran, Derry and London takes place. An unusual set of bedfellows.
The narrative is primarily told by Orla (Siobhan O’Kelly). She makes clear that the trauma she has experienced in Tehran seems to have splintered away any sense of linear narrative in her mind of events. Snapshots of what took place became twisted and spewed out an altered sense of reality, like the twisted fairytale of Rapunzel story she relays within the performance.
Stark opposites are provided by the liberal lives that Orla, as a feminist artist, and her best friend Mark (Nathan Kiley), a drag cabaret artist) enjoy in London compared to the tightly controlled environment of Iran. Revelling in their plans to open their own performance space and sharing stories of sexual antics with their respective gay lovers comes to a censored halt whilst Orla adjusts to her new temporary home. Having opted to visit as part of an inter-cultural exchange, Orla expected to struggle within the environment of censorship yet, at no point, did she anticipate how deeply she would experience the Iranian brutal methods used to ensure submission to its controls.
O’Kelly is a convincing and captivating storyteller. Kiley is equally as beguiling in his role as Mark. He commands your attention throughout the performance (in all sorts of ways!) and his singing leaves all satiated with its alternating smooth depths and frothy fun. In spite of remaining in London, Mark himself experiences his own form of trauma and perverse manipulations, exposing the tarnish under his sparkles.
This is a story that is moving and powerful, told through unusual lenses, yet having the altogether familiar themes of love, forgiveness and perseverance of the soul woven throughout. There are no sugary corners here though. The fear that has been stirred against the power and ‘sorcery’ of women’s bodies and used for manipulation and control retriggers an angry flame in Orla. The lessons she takes away from this experience ensures she is determined to share the truth and not be complicit with the lie.
As Susan Hill’s THE WOMAN IN BLACK at The Fortune Theatre, London prepares to celebrate its 30thAnniversary in the West End in June 2019, PW Productions are delighted to announce that from Tuesday 19 March 2019 the show will star Stuart Fox as ‘Arthur Kipps’ and Matthew Spencer as ‘The Actor’.
Having previously played the role of ‘Arthur Kipps’ at the Fortune Theatre and during the UK Tour, Stuart Foxreturns to “The Woman in Black”. His other West End credits include “Woman in Mind” at the Vaudeville theatre, “The Normal Heart” at the Royal Court, and “Fear and Loathing in Las Vegas” at the Fortune Theatre. His other theatre credits include “Ten Times Table”, “The Last of the Red Hot Lovers” and “Educating Rita” all at the The Mill at Sonning, and “Springs Eternal”, “The Man Who Pays the Piper”, “The Stepmother”, “Sauce for the Goose”, “Three Farces” and “Winter” all at the Orange Tree Theatre and “After the Ball” at Theatre Upstairs Highgate.
Matthew Spencer has played the role of ‘The Actor’ at The Fortune Theatre and during the UK Tour of “The Woman in Black”. His other West End credits include “Amadeus” at the National Theatre, “1984” and the Almeida and Playhouse Theatre, and “War Horse” at the New London Theatre. His other theatre credits include “The Busy Body” at the Southwark Playhouse, “Bent” at the Trafalgar Studios, and “Sleuth” and “Tartuffe” at the Watermill Theatre and UK Tour.
In June this year THE WOMAN IN BLACK will celebrate its 30th Anniversary in London’s West End. Stephen Mallatratt’s adaptation of Susan Hill’s best-selling novel tells the story of a lawyer obsessed with a curse that he believes has been cast over his family by the spectre of a ‘Woman in Black’. He engages a young actor to help him tell his story and exorcise the fear that grips his soul. It begins innocently enough, but as they delve further into his darkest memories, they find themselves caught up in a world of eerie marshes and moaning winds. The borders between make-believe and reality begin to blur and the flesh begins creep.
THE WOMAN IN BLACK is directed by Robin Herford, with designs by Michael Holt and lighting by Kevin Sleep.
MATTHEW BOURNE TO BE HONOURED WITH SPECIAL OLIVIER AWARD
Sir Matthew Bourne OBE has been announced as the recipient of this year’s Special Award at the Olivier Awards 2019 with Mastercard, in recognition of his extraordinary achievements in dance.
Hailed by many as the UK’s most successful living choreographer and director, Bourne has created and directed dance for musicals, theatre and film for 30 years, receiving numerous international accolades including seven Olivier Awards. This Special Award will be Bourne’s eighth Olivier Award, making him joint holder of the most ever Olivier Awards, alongside Judi Dench.
Kenny Wax, President of the Society of London Theatre, said:
‘The Society of London Theatre is delighted to acknowledge Matthew Bourne’s extraordinary achievements in dance with this year’s Special Olivier Award. Matthew has transformed the landscape of dance in this country and across the globe with his bold, innovative and popular work, loved by audiences around the world.’
As Artistic Director of his first company, Adventures in Motion Pictures (1987 – 2002), Bourne’s award-winning work included Spitfire, Nutcracker!, Highland Fling, Cinderella and The Car Man – as well as Swan Lake, which went on to become the longest-running ballet in the West End and on Broadway, and be performed all over the world.
In 2002, with Co-Director Robert Noble, Bourne launched New Adventures, now a hugely influential exporter of British dance around the world. With the company, Bourne has premiered iconic productions including Play Without Words, Edward Scissorhands, Sleeping Beauty and The Red Shoes. 2019 sees the world premiere of Bourne’s 12th full-length production, Romeo and Juliet, which involves young dance talent from across the UK performing alongside the New Adventures company.
Since 2008, New Adventures has delivered engaging and ambitious projects for people of all ages and abilities, reaching thousands worldwide each year as part of the company’s ambitions to develop and nurture the next generation of artists and audiences.
Bourne has created choreography for several major musicals, including Cameron Mackintosh’s productions of Oliver! and My Fair Lady, the National Theatre’s revival of South Pacific, and the 2004 production of Mary Poppins (with Stephen Mear), which returns to the West End later this year.
Awarded the OBE for Services to Dance in 2001, Bourne was knighted in the Queen’s New Year Honours 2016 for services to dance, and awarded the Queen Elizabeth II Coronation Award in recognition of his outstanding services to the art of ballet.
The Olivier Awards, widely recognised as Britain’s most prestigious stage honours, return to the Royal Albert Hall on Sunday 7 April. This year’s nominations will be announced on Tuesday 5 March, and further details of the ceremony – including the host – will also be announced soon.
Past recipients of the Special Award include Kenneth Branagh, Stephen Sondheim, Judi Dench and Ian McKellen.
Acclaimed star of Funny Girl and Legally Blonde returns to the West End
Creative team also announced, with production
to be directed by Laurence Connor (School of Rock, Miss Saigon)
Casting for the role of Joseph to be announced at a later date
Performances begin Thursday 27 June 2019
Today Michael Harrison and the Really Useful Group are delighted to announce that BAFTA and Olivier Award-winning actress Sheridan Smith will return to the West End this summer in the new production of Joseph and the Amazing Technicolor Dreamcoat at the London Palladium.
Sheridan will play The Narrator, as the iconic musical by Andrew Lloyd Webber and Tim Rice is re-imagined in a brand new production. The production will play a strictly limited 11-week season from Thursday 27 June.
Joseph and the Amazing Technicolor Dreamcoat will be directed by Laurence Connor. Laurence’s credits include the acclaimed London production of School of Rock and the Tony-Award nominated production on Broadway, the recent London productions of Miss Saigon and Chess, the international arena tour of Jesus Christ Superstar and he is also the Co-Director of the new version of Les Misérables which has enjoyed worldwide success including Broadway, UK and US tours.
Laurence will be joined on the creative team by Choreographer JoAnn M Hunter (who has 20 Broadway shows to her credit, including School of Rock and On A Clear Day You Can See Forever), the award-winning Morgan Large who will design the set and costumes, Lighting Designer Ben Cracknell and Sound Designer Gareth Owen.
Double Olivier Award winning Sheridan Smith is Britain’s most captivating young actress. She made her TV debut in 1999 in ITV’s comedy series Dark Ages and went on to become a renowned household name on the long running cult series Two Pints of Lager and a Packet of Crisps. Her other TV credits include her starring role in Mrs Biggs, for which she was named Best Actress at the 2013 BAFTA TV Awards and was nominated for an International EMMY, and winning the National TV Award for her highly acclaimed portrayal of British icon Cilla Black in ITV’s 3-part drama Cilla, for which she was also nominated for her second BAFTA and International EMMY. Her most recent TV project was the ITV Primetime Drama Cleaning Up.
Her film credits include Hysteria, Tower Block, Quartet and Universal’s The Huntsman and Winter’s War.
Sheridan made her stage debut at the Donmar Warehouse in Into the Woods, and has since gone on to establish herself as one of the leading actresses in UK theatre. She earned her first Olivier Award Nomination for her performance in Little Shop of Horrors at the Menier Chocolate Factory and in the West End, and in 2009 was awarded her first Olivier Award for her role of ‘Elle Woods’ in the West End production of Legally Blonde the Musical. She also won the 2012 Olivier Award for Best Supporting Performance and the Evening Standard Theatre Award for Best Actress for her role of ‘Doris’ in Flare Path. Most recently Sheridan enjoyed a highly celebrated run at The Savoy Theatre in Funny Girl, playing ‘Fanny Brice’, a role last played by Barbara Streisand.
Released as a concept album in 1969,the stage version of Joseph and the Amazing Technicolor Dreamcoat has become one of the world’s most belovedfamily musicals. The multi-award-winning show, which began life as a small-scale school concert, has been performed hundreds of thousands of times including multiple runs in the West End and on Broadway, international number one tours, and productions in over 80 countries as far afield as Austria and Zimbabwe and from Israel to Peru! The show features songs that have gone on to become pop and musical theatre standards, including Any Dream Will Do, Close Every Door To Me, Jacob and Sons, There’s One More Angel In Heaven and Go Go Go Joseph.
Told entirely through song with the help of the Narrator, Joseph and the Amazing Technicolor Dreamcoatfollows the story of Jacob’s favourite son Joseph and his eleven brothers. After being sold into slavery by the brothers, he ingratiates himself with Egyptian noble Potiphar, but ends up in jail after refusing the advances of Potiphar’s wife. While imprisoned, Joseph discovers his ability to interpret dreams, and he soon finds himself in front of the mighty but troubled showman, the Pharaoh. As Joseph strives to resolve Egypt’s famine, he becomes Pharaoh’s right-hand man and eventually reunites with his family.
Joseph and the Amazing Technicolor Dreamcoat is produced by Michael Harrison.
Sasha Regan’s all male Pirates of Penzance is simply irresistible. This joyful, exuberant and hilarious show is a perfect fit for Wilton’s wonderful space, with the cast popping up all around the auditorium. The first appearance of the ladies parading around the balcony is unforgettable, and the bungled burglary is a torch lit wonder.
Gilbert and Sullivan’s absurd story is lifted to supreme silliness by the non-stop visual gags going on in the background as Frederic (the impressive Tom Senior) and Mabel (the sweet but strong Tom Bales) gamely sing their hearts out professing their true love. Lizzi Gee’s choreography injects an impish joy into each musical number, even with simple head movements, and the oh-so-familiar songs are made to feel fresh and exciting. The sergeant and his policeman, complete with Cornish accents and giant moustaches on sticks are a hoot, and the chorus of girls and Mabel’s sisters will have you crying with laughter. This is a show you could return to time and time again, as you’re bound to miss some of the shenanigans in the ensemble. Vocally, the cast is spot on, and musical director Richard Baker on the piano is outstanding. The only colour amongst the costumes of white and beige is found on the Major General’s hunting jacket, but this splendour is offset by the prop used as his noble steed! David McKechnie is word-perfect in the role, while James Thackeray’s louche Pirate King and Alan Richardson’s gleefully odious but pitiable Ruth are a magnificent comic double act.
This is a must-see production for Gilbert and Sullivan aficionados and novices alike – gloriously daft and intoxicatingly uplifting.
Stephen Adly Guirgis’Jesus Hopped the ‘A’ Train extended due to popular demand
Now playing at the Young Vic until Saturday6 April
Relaxed performance added on Wednesday 3 April matinee
Young Vic presents
JESUS HOPPED THE ‘A’ TRAIN
By Stephen Adly Guirgis
Directed by Kate Hewitt
Young Vic Main House
Until 6 April 2019
Young Vic presents
JESUS HOPPED THE ‘A’ TRAIN
By Stephen Adly Guirgis
Directed by Kate Hewitt
Young Vic Main House
Until 6 April 2019
Director: Kate Hewitt; Set Designer: Magda Willi; Costume Designer: Kinnetia Isidore
Lighting Designer: Guy Hoare; Sound Designer: Peter Rice; Movement Director: Imogen Knight
UK Casting Director: Julia Horan CDG; US Casting Director: Jim Carnahan CSA
The Young Vic today announces an extension, due to popular demand, of Stephen Adly Guirgis’Jesus Hopped the ‘A’ Train. The critically-acclaimed production, directed by Kate Hewitt, now runs until Saturday6 April, and will include a Relaxed Performance on Wednesday 3 April.
The cast includes Oberon K. A. Adjepong (Lucius Jenkins), Matthew Douglas (D’Amico), Ukweli Roach (Angel Cruz) and Joplin Sibtain (Valdez).
‘Blistering. A physical punch of a play.’
The Telegraph
From Pulitzer Prize winner Stephen Adly Guirgis (The Motherf*cker with the Hat), comes this critically-acclaimed dark comedy about the American justice system and the contradictory nature of faith.
Inside the lockdown wing of Rikers Island prison, a frightened young man accused of murdering a cult leader is confronted with a charismatic born-again serial killer and a sadistic guard. Will one man’s redemption lead to another’s damnation?
‘Bitingly, blackly funny, with deathlessly sharp dialogue.’
Time Out
Stephen Adly Guirgis is a playwright, screenwriter, director, and actor. As a playwright, his other credits includeOur Lady Of 121st Street, The Last Days of Judas Iscariot, Little Flower of East Orange, The Motherf*cker with the Hat, and Between Riverside and Crazy, which won the 2015 Pulitzer Prize for Drama. His television writing credits include NYPD Blue and The Get Down.
Kate Hewitt directs. Her theatre credits for the company include as director Far Away (JMK Young Director Award, 2014) and as Associate Director, Yerma. Her other directing credits include Frost/Nixon, Tribes (Sheffield Theatres), The Ice Road (Raucous Theatre), Kiki’s Delivery Service, Tomcat (Southwark Playhouse), Romeo & Juliet (Ambassador’s Theatre) and Portrait (Edinburgh Festival/UK tour). As Associate Director her credits include, One Love: The Bob Marley Musical (Birmingham Rep), Charlie & The Chocolate Factory (Drury Lane),Medea (Headlong Theatre Company) and Electra (Gate Theatre/Latitude Festival).
Oberon K. A. Adjepong plays Lucius Jenkins. His theatre credits include Good Grief (Vineyard Theatre), TheWinter’s Tale, Measure For Measure, Pericles, Tamburlaine (TFANA), Homecoming Queen (Atlantic Theatre Company – AUDELCO nomination), Uncommon Sense (Tectonic Theater Project), Party People (The Public Theater), 12 Angry Men (The Billie Holiday Theatre), Like I Say, Cellophane (Flea Theatre), Mother Courage, The Blacks (The Classical Theater of Harlem/Classic Stage Company), Wabenzi (New Ohio Theatre), Hamlet Project (La MaMa), Sango (NBT – AUDELCO nomination). His television credits include Blacklist, The Knick and Louie; and for film, CrazyFamous and CrownHeights.
Matthew Douglas returns to the Young Vic to play D’Amico. His previous credits for the company include King Lear. Other theatre credits include An Inspector Calls (UK tour/Playhouse Theatre), Far from the Madding Crowd (The Watermill Theatre), The Widowing of Mrs Holroyd (The New Vic), Travesties, TheImportance of Being Ernest (Birmingham Rep), Hay Fever (West Yorkshire Playhouse), She Stoops to Conquer (Birmingham Rep/Chichester Festival Theatre/UK tour), The Big House (Abbey Theatre, Dublin), Salt Meets Wound(Theatre503), Hecuba (RSC/Albery Theatre) and Othello (international tour). His television credits includeMiracle Landing on the Hudson; and for film, Papadopoulos and Sons.
Dervla Kirwan plays Mary Jane Hanrahan. Her theatre credits include King Lear, Frankie and Johnny, Uncle Vanya (Chichester Festival Theatre), Mr Foote’s Other Leg (Hampstead Theatre, Theatre Royal Haymarket), The Weir (Donmar Warehouse and West End), Betrayal (Donmar Warehouse), Aristocrats (National Theatre) and Hush (Royal Court Theatre). Her television credits include White Dragon, The Silence, Material Girl, True Dare Kiss, 55 Degrees North, Hearts and Bones, Ballykissangel and Goodnight Sweetheart; and for film, Trautmann, Interlude in Prague, Luna, Entity, Ondine and Dangerous Parking.
Ukweli Roach plays Angel Cruz. His theatre credits include Nightfall (Bridge Theatre), 5,6,7,8 (rough cuts) (Royal Court Theatre), Romeo & Juliet and Helen (Globe Theatre). Television credits include Humans, Hard Sun, Blindspot (series 1 – 3), Dickensian, The Royals, Grantchester, Silk, Drifters, Starlings, Monroe and Eternal Law. Film credits include One Day, Streetdance 3D and Venus And The Son. Roach is Artistic Director of dance company Birdgang, touring with the Blaze international Hiphop dance show.
Joplin Sibtain plays Valdez. His theatre credits include The Beaux’ Stratagem, Dara, An Oak Tree, Behind The Beautiful Forevers, Othello, The Wind in the Willows, The Absence of War (National Theatre), Godchild(Hampstead Theatre), A Midsummer Night’s Dream (Shakespeare’s Globe), King Lear (Almeida Theatre), The King and I (Curve), An Enemy of the People (Sheffield Theatres), A Street Car Named Desire (Nuffield Southampton Theatres), The Crucible (Octagon Theatre Bolton), Indian Ink (Salisbury Playhouse), The Ark an The Covenant (Battersea Arts Centre), The Fall Guy, The Moonstone (Royal Exchange Theatre), and Romeo and Juliet (RSC). His television credits include Nightflyers, Safe, Hard Sun and No Offence; and for film, Honey in the Head and Naachle London.
Oberon K.A. Adjepong is appearing with the permission of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and UK Equity.
Based on The Cut in London’s Waterloo, we produce new plays, classics, musicals, adaptations of books, short films, digital projects and game changing forms of theatre. We attract large audiences from many different backgrounds, and forge deep connections in our neighbourhood where we provide extensive free activities. For many years the Young Vic has been synonymous with inclusivity, accessibility and creativity. We foster emerging talent and collaborate with some of the world’s finest directors, performers and creatives; creating productions that say much about the world we live in.
London’s first theatre themed café, The Theatre Café, today announces exciting expansion plans for 2019. A brand new site will open on St Martin’s Lane in June 2019 and offer theatre fans a bigger and better space to enjoy everything stagey. The new larger premises will feature a brand-new stage and offer more live events and opportunities for fans to be part of the West End community.
London Theatre Bookings and The Theatre Café’s Chief Operations Officer, Ryan Woods said:
“ I am so delighted we have the opportunity to expand The Theatre Café. The industry and fans have taken this café to their heart, supported us and now we can give them all a bigger space to bring the theatre community together. We aim to make theatre more accessible to the public, which lies at the heart of why we are passionate about progressing this place. I am so proud to lead this company of dedicated staff and owners who all share that goal. ”
The Theatre Café’s first location on Shaftesbury Avenue, which opened in 2015, has achieved exceptional success, with the last year seeing a huge upturn in the recognition of the brand worldwide. The café is a hub for theatre fans, with theatrical memorabilia adorning the walls and showtunes played throughout the day.
With a large, dedicated social media following and support from industry professionals, The Theatre Café has also become a go-to for theatre fans that are looking for the latest theatre news alongside fun and innovative content.
The Theatre Café recently announced a partnership with Waitress the Musical to provide pies for the West End production from a purpose-built bakery in the heart of the West End,further strengthening its profile among theatre fans.
The Theatre Café is operated by London Theatre Bookings, London’s largest independent ticket agent.
The Shaftesbury Avenue site will continue to operate as a ‘grab and go’ coffee shop, being rebranded as The Theatre Café Expresso.
SARAH FRANKCOM STEPS DOWN AS ARTISTIC DIRECTOR OF THE ROYAL EXCHANGE THEATRE
It has been announced today that Sarah Frankcom is stepping down as Artistic Director of the Royal Exchange Theatre to take up a new post as Director of the prestigious drama school LAMDA. Sarah originally joined the Exchange as Literary Manager in 1998. In 2008 she was made Joint Artistic Director before taking up her current position as sole Artistic Director in 2014. Under her artistic leadership the Exchange has thrived and has been celebrated for its originality, innovation and continued support for the next generation of writers, actors, directors and theatre makers. Described as a ‘Powerhouse’ and recognised for its ‘brave and bold’ programming Sarah has shaped the Theatre into an award-winning Company that asks what a producing theatre can be for artists, audiences and communities today.
Sarah Frankcom, Royal Exchange Artistic Director said,
“My last four years at the Royal Exchange have been the most fulfilling and exhilarating of my career to date. The Theatre has allowed me to focus on my passions of nurturing new work and developing next generation theatre talent, whilst collaborating with some amazing artists and sharing work with an increasingly wide range of audiences. I’m immensely proud of the strides the Company has taken on and off our stages, increasing representation in both the stories we share with audiences, the artists we make work with, and the meaningful way in which we now work with, and listen to the communities we serve. The Exchange is in a really positive place and confidently embraces creative adventure. The time is ripe for fresh ideas and a new imagination to explore the possibilities of our iconic spaces, and lead the Company to new places artistically in partnership with our inspiring Executive Director, Steve Freeman.”
“There are very few jobs I would feel excited about leaving the Exchange for, but my background in teaching and enduring appetite for finding new and innovative ways of developing the widest variety of theatre talent, made the offer to lead LAMDA, and reimagine what drama training might be in the future, too enticing a challenge to pass up. I can’t wait to see what the Exchange accomplishes next, and know that whoever the next Artistic Director is, they will be enabled and supported by the finest of theatre colleagues, artists and audiences.”
Creating some of the Exchange’s most defining pieces of theatre, Sarah’s work as a director has seen her reimagine classic drama and breathe life into new plays. Through her creative partnership with Associate Artist Maxine Peake she has redefined work as wide ranging as HAMLET, Caryl Churchill’s THE SKRIKER, A STREETCAR NAMED DESIRE and in 2018 Samuel Beckett’s surreal masterpiece HAPPY DAYS. Her recent productions have included the critically acclaimed DEATH OF A SALESMAN with Don Warrington and OUR TOWN, for which she was awarded Best Director at the 2018 UK Theatre Awards.
Alongside her work on stage Sarah established THE BRUNTWOOD PRIZE FOR PLAYWRITING, a beacon for new writing and now Europe’s largest playwriting competition. She has championed the development of the Exchange’s award-winning Young Company and Elders whose extraordinary work continues to inform and impact. OPEN EXCHANGE, a growing network of local artists, has helped to connect makers from across the region providing space and support for the development of theatre here in the City. She has placed audiences and the communities of Greater Manchester at the heart of the organisation through unique projects such as YOU, THE AUDIENCE, the GM CRITICS SCHEME and the development of the Theatre’s newest programme of work LOCAL EXCHANGE. These projects have become a vital part of a continually evolving relationship with audience and communities.
Royal Exchange Executive Director Steve Freeman commented…
“It is a testament to Sarah’s generosity and vision that she is moving on from the Royal Exchange when the organisation is at the height of its creativity, handing over one of the most exciting roles in British theatre to fresh talent. She leaves us in an incredibly strong and vibrant position with art, artists, audiences, and our local communities at the centre of all we do. Her leadership is the reason why the Exchange is such a thriving and vital cultural institution, and her legacy is a tremendous foundation for our future. I know that Sarah will have an equally powerful impact in her new role at LAMDA.”
Alison Clark, Director North and National Combined Arts Director at Arts Council England added:
“The Royal Exchange has gone from strength to strength under the artistic directorship of Sarah Frankcom. The work that has been produced under her leadership has been artistically outstanding and innovative, while also attuned and connected to local communities and audiences. She leaves the Royal Exchange in a fantastic place to now build on what she has achieved, especially under its new Executive Director, Steve Freeman. On a personal note I will miss Sarah’s presence in the city but look forward to seeing the difference she’ll make in her new role.”
Ben Caldwell, Chair of the Royal Exchange’s Board concludes…
“Sarah is an extraordinary leader and an inspiring Artistic Director. It goes without saying that we are sorry to see her go but wish her an enormous amount of luck in her new role at LAMDA. I’ve had the privilege of working closely with Sarah since 2015 and have seen her passion for theatre and her drive for change first hand. Under her guidance the Royal Exchange has soared, our work is celebrated, our audiences have grown, and they are younger and more representative of our city region. She leaves this theatre on a high, with a strength and confidence for what our future might hold. I cannot think of anyone better to shape the future of LAMDA and I thank her for her everything she has brought to this unique Manchester theatre.”
As Artistic Director of the Royal Exchange Sarah Frankcom has transformed the Theatre into one of the most important and vibrant producing houses in the UK. She takes up her new role at LAMDA in November 2019.
My second time watching Madagascar The Musical on stage, my first in Bridlington and now at the York Theatre Royal. I always find it interesting to watch a show at different points in the tour, does it get better or does the commitment die down. I would find it rather stupid to try and explain the plot of the much loved film so I’ll skip straight to the actors.
The cast, with just as much energy as I watched the show a couple of months ago, entertained the kids and adults alike, with fun upbeat songs and hilarious jokes throughout the show you’ll have to try hard not to have a good time. Matt Terry from the X Factor played Alex the Lion, the King of New York; with an impressive voice during the songs in the show and an energy on stage that engages the audience. My stand out performer was Timmika Ramsay, same as last time, playing Gloria the hippo with a soulful voice and a sassy character. Antoine Murray-Straughan played Marty the Zebra with a lot of energy on stage and really brought the bounce to the show. Jamie Lee-Morgan player Melvin the giraffe, with a tall head on a stick it looked hard to control and heavy to hold, I’m surprised at how he held it up and use it in dance scenes. The character that the kids loved was King Julien played by Jo Parsons, with a crazy personality and more milk in the character than in a cow, the audience were howling at his moments on stage. The ensemble did an amazing job of taking on different roles from penguins, old ladies and lemurs, giving vocals that worked well with each other and each stood out on stage. It’s so great to see when the actors don’t loose the oomph throughout the run and give the same energy to every performance, and the energy here is fanatic.
The costumes look as similar to the film as you can make a body suit, it suited the style of the show. The set was simple enough so that the actors could bring props and scenery on stage I really like when a show does this at it means scene changes are fast and we get lost in the magic of theatre more.
The kids loved this show and the audience at York Theatre Royal was much more reactive than at Bridlington Spa, the show is rather short with two forty minute acts, so you won’t have children getting bored. This is a show for all ages and families, any fans of the film will have to watch the live show as it’s just as funny.
It’s the late 1970’s and disco fever is in full swing. Italian-American teenager Tony Manero lives in Bay Ridge, Brooklyn with his parents and younger sister. Stuck in a dead end job in a small DIY site, Tony’s only real escape is the weekend when he can hang out with his four friends at local disco bar 2001 Odyssey (more fondly referred to as “the 2001”), where Tony is fast becoming the King of the dance floor.
When Tony hears about an upcoming dance contest at the 2001 where the top prize is $1,000 he decides to enter, reluctantly partnering with local girl Annette, who has been lusting after Tony for some time. However Annette’s joy is short lived as Tony meets a more experienced dancer, Stephanie Mangano at Dale Dance Studio, where him and Annette have been rehearsing, telling Annette he has found himself a new dance partner.
Although Tony wants more than just friendship from Stephanie, he reluctantly agrees to keep their relationship strictly professional.
Admittedly I haven’t seen the original movie that this musical is a direct adaptation of, having not being born until the early 80s nor not being a fan of disco nor The Bee Gees, whom of course provide the entire soundtrack for the story. Sure I’m familiar with the majority of their songs but tend to flick between radio stations should one of their tunes come on – unless of course it’s one of the many cover versions! However Saturday Night Fever transported me back in time to the groovy seventies, from the bad fashion to the disco balls.
Whilst the story itself is pretty much non existent, focussing mainly around the dance competition, it’s the music and choreography which make this musical such a hit. Bearing this in mind, I wasn’t particularly blown away by Richard Winsor as leading man Tony. For those that have seen the original movie, I’m sure you’ll recall how John Travolta was full of sass putting every emotion into his dancing – from toe to finger tips. However I felt Winsor lacked charisma and was seemingly devoid of showing any energy or emotion in his routines. You’d only to glance across at Jared Thompson as Double-J to see the difference. A great deal of disco moves relay on exaggerated hip moves which Thompson certainly didn’t disappoint on. Every part of his anatomy and facial expressions delivered the moves with jive and charisma, making me wonder why he hadn’t been cast as the leading role instead.
Phillip Aiden gave a chilling performance as Tony’s abusive alcoholic father whist Melody E Jones gave a heart warming performance as his ill-suffering wife.
The stage set was featured around some metal staircases which became the 2001’s steps for dancing on, lead to Tony’s bedroom and to the bridge Tony and his friends loved to hang out on, which later becomes the place where tragedy strikes (or should that be Tragedy?!).
Throw in the mirrored multi-coloured lit floor and disco balls for that original nostalgic disco feel and this musical leaves one itching to get up and strut. Whilst nothing can be done to enhance the lack of story from the original movie, having a issues from domestic violence, suicide, rape and the over use of the F-word, by the time the cast reach the encore finale mega mix (Disco Inferno/Night Fever/You Should be Dancing) one cant help but feel all warm and fuzzy and busting your best disco moves.
Saturday Night Fever is the ultimate nostalgic night out, performing at Sheffield’s Lyceum Theatre until Saturday 2nd March
