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TALL STORIES CELEBRATES ITS 21st BIRTHDAY WITH

A WORLD PREMIERE AT THE EDINBURGH FESTIVAL FRINGE,

PRODUCTIONS IN THE U.S., AUSTRALIA AND AROUND THE UK,

PLUS A CHRISTMAS SEASON IN LONDON’S WEST END

Olivier award nominated and renowned theatre company Tall Stories celebrates its 21st birthday in 2018 with a stellar year of productions including a brand new show for grown-ups. The 1997 Edinburgh Fringe saw the premiere of the company’s first show, ‘The Happy Prince and Other Stories’, adapted from Oscar Wilde’s fairy tales. 21 years later, the company returns to the Edinburgh Fringe with two distinctive Wilde adaptations: the world premiere of ‘THE CANTERVILLE GHOST’ (definitely not suitable for under 12s) and the Edinburgh premiere of ‘WILDE CREATURES’ (for ages 5 and over) – straight from London’s West End.

Since joint artistic directors Olivia Jacobs and Toby Mitchell founded the company in 1997, they have co-created and staged 30 productions, in 5 languages, in 15 countries, over 6 continents – with performances at the Sydney Opera House, on Broadway and in London’s West End. The company’s most noted and popular productions include ‘THE GRUFFALO’, ‘ROOM ON THE BROOM’ and ‘THE SNOW DRAGON’.

Tall Stories is working on eight shows over their anniversary year; details are below.

THE CANTERVILLE GHOST (not suitable for under 12s)

Edinburgh Fringe: 1st-25th August

Warwick Arts Centre: 18th-30th December

Tall Stories is thrilled to be bringing Oscar Wilde’s spooky tale ‘THE CANTERVILLE GHOST’ to the stage in this World Premiere production. A company of four vaudeville performers tell the story of the Otis Family and their move into the haunted Canterville Hall. This spine tingling production will premiere at the Edinburgh Fringe this summer and is aimed at grown-ups – in an extension of Tall Stories’ more usual work for family audiences.

WILDE CREATURES (ages 5 to 105)

Sydney Opera House: 7th-21st July

Edinburgh Fringe: 1st-25th August

Warwick Arts Centre: 28^th Nov-30^th Dec

Direct from Sydney Opera House and London’s West End, Tall Stories is delighted to be bringing ‘WILDE CREATURES’ back to the stage for its Edinburgh premiere. A group of storytelling musicians bring Oscar Wilde’s classic fairy tales to life. These hauntingly beautiful tales are told with original live music and a generous dash of comedy.

ROOM ON THE BROOM (ages 3+)

Lyric Theatre, West End: 23rd Nov-13th Jan

UK Tour 2019

The Olivier award nominated ‘ROOM ON THE BROOM’ returns to London for the festive season! After success in London’s West End four years ago, the production (based on the classic picture book by Julia Donaldson and Axel Scheffler) is back in London for a limited run before flying off on a UK tour in Spring 2019.  This musical adaptation tells the story of the Witch and her cat who are travelling on their broomstick when they pick up some hitch-hikers – a friendly dog, a beautiful green bird and a crazy frog.

THE SNAIL AND THE WHALE (ages 4+)

UK & Ireland Tour: 30th May – 9th December 2018

This production returns for a UK & Ireland tour marking the 15^th anniversary of the best-selling book by Julia Donaldson and Axel Scheffler, which tells the story of a tiny snail who longs to sail the world. Told through the eyes of an adventurous young girl, who’d love to go round the world with her seafaring father, this adaptation is inspired by the work of Storybook Soldiers, who help British military personnel serving abroad to record bedtime story CDs for their children back home.

THE GRUFFALO’S CHILD (ages 3+)

UK & Ireland Tour: 30th May – 6th January 2019

Australian Tour (Australian cast): 15th October- 28th January 2019

This adaptation of Julia Donaldson and Axel Scheffler’s award-winning sequel to The Gruffalo is bought to the stage in a musical adventure. One wild and windy night the Gruffalo’s Child ignores her father’s warnings about the Big Bad Mouse and tiptoes out into the deep dark wood. She follows snowy tracks and encounters mysterious creatures – but the Big Bad Mouse doesn’t really exist… does he?

EMILY BROWN AND THE THING (ages 3+)

Birmingham Hippodrome (Patrick Centre): 17^th Dec-6^th Jan

Broadway, USA and Canada tour: 23rd Jan-19^th May 2019

The highly acclaimed production returns for a festive season in Birmingham before a run in Broadway’s New Victory Theatre and a USA tour in 2019. This is an imaginative adaptation of the much-loved book by the award-winning duo Cressida Cowell (author of How to Train Your Dragon) and Neal Layton. Following a sell-out run at the Edinburgh Fringe in 2014, the show has toured the UK, Hong Kong and Australia (including Sydney Opera House). The story is told with original music, puppetry, physical storytelling and lots of comedy.  

THE SNOW DRAGON (ages 3+)

Sydney Opera House: 3th-12th October

After touring the UK and across the globe since 2005, ‘THE SNOW DRAGON’ (based on an original concept by the company) will be opening in Sydney this autumn. The production tells the story of Billy the Goat and the annual visit of the legendary Snow Dragon, filled with music, fun and laughter.

THE GRUFFALO (ages 3+)

Stratford Circus, London: 27th November- 30th December 2018

International and UK tour from January 2019

The now classic magical, musical adaptation of the picture book by Julia Donaldson and Axel Scheffler. Searching for hazelnuts, Mouse meets the cunning Fox, the eccentric old Owl and the fun-loving Snake. Will the story of the terrifying Gruffalo save Mouse from ending up as dinner for these hungry woodland creatures? After all, there’s no such thing as a Gruffalo – is there? Songs, laughs and scary fun for children aged 3 and up and their grown-ups, in the much-loved show that’s toured the UK and the world!

West Yorkshire Playhouse, Leeds – until 9th June 2018

Reviewed By Dawn Smallwood

5*****

This highly anticipated production The Girl on the Train has begun its world premiere at the West Yorkshire Playhouse. Based on Paula Hawkins’ bestselling novel and Rachel Wagstaff and Duncan Abel’s adaptation the story comes to life on stage. It is about Rachel Watson (Jill Halfpenny) who dreams of life that is very different to hers and seeks escapism through the train’s windows on her daily commute. From the windows she secretly focuses on the couple, Megan and Scott Hipwell (Florence Hall and Theo Ogundipe), who appear to have this perfect enviable relationship until one day Megan abruptly disappears.

With a stunning simplistic staging, stripped to the bare minimum, Rachel (Halfpenny) is suddenly involved with the investigation as both a witness and suspect assisting G.I. Gaskill (Colin Tierney). The suspense and intrigue gets bigger with incredible flash projections of a moving train, in between scenes, which enables Rachel to remember more about what happened on the day that Megan (Hall) disappeared and eventually faces the shocking truth.

Lily Arnold’s staging works well with the story and the characters are portrayed excellently by Halfpenny, Hall, Ogundpipe, Tierney, Adam Best, Jonas Khan and Sarah Ovens. Joe Murphy’s direction ensures the story focuses more on the characters than on the chronology of events. Lizzie Powell’s lighting, Isobel Waller-Bridge’s soundscapes and Andrzej Goulding’s video projections complement the production and enhances the suspense and intrigue expected in a psychological thriller.

Many can relate to the strong emotive and psychological themes in the play today and there are those who have shared a similar journey to Rachel (Halfpenny) with experiences of being in an abusive relationship and in receipt of manipulative and controlling behaviour from their partners. Such behaviour results in the devastating consequences, as evident with the alcohol dependency, and the struggle to rebuild one’s life through disempowerment, belittlement and a lack of confidence. The play draws hope however when one can rediscover their power and use this for the greater good in oneself and in society. It is psychologically poignant but refreshingly hopeful for one door to be closed and another one to be opened. Rachel makes such a personal statement at the end that she was the girl on the train but now it’s a women being on one.

First class acting from all the cast and especially Halfpenny who gives a very strong performance portraying Rachel Watson who is laden with emotions from her abusive relationship but has a fighting spirit, from being vulnerable to turning detective, in pursuing what exactly happened to Megan (Hall) that day.

The play grips the audience with suspense and definitely captures their attention from beginning to end. The Girl on the Train plans to tour nationally after its run at the West Yorkshire Playhouse and no doubt the production will be very well received as well as this current run. An unmissable production and a big credit to everyone involved.

Union Theatre – until 23 May

Reviewed by Claire Roderick

3***

London, 2011, and the people of Britain are excited – not because of the upcoming Olympics (which everybody knows will be a complete shambles) – but because the identity of the secret prince is about to be revealed. Living in anonymity since the death of his mother in a freak pedicure accident, Prince Bertie has grown up, attended catering college, and fallen in love with staunch Republican Chelsea – a mixed-race pub landlord’s daughter from Barking. Maz Evans’ book mixes Pygmalion and Spitting Image in a brash and often corny story of love, politics and inbreeding. Newly elected Centrist Prime Minister finds himself at the mercy of ambitious and power-hungry Princess Victoria and a referendum is called on who should take the throne after Queen Mary dies. Victoria plots to split the happy couple to ensure her triumph.

The royal stereotypes are all familiar, with the queen a foul-mouthed bigot who hates her useless dithering heir, and the pub characters are also nothing new. Some of the jokes are older than Queen Victoria, and fall flat, but there are some inspired moments, with Evans’ lyrics providing some huge laughs. The running gags begin to wear thin as the show goes along, but some judicious pruning should iron out the wrinkles. The musical numbers are decent, but not memorable, but are sung brilliantly by the talented cast accompanied by a pub piano.

The cast do wonders with their characters – Tori Allen-Martin delivers a five-star performance as usual, making Chelsea loveable and believable, with amazing vocals. Christian James is sweet and charming as bumbling Bertie, with a fantastic voice that works wonderfully with Allen-Martin’s. Emily Jane Kerr goes maniacally OTT as manipulative Victoria. Andrea Miller excels as Chelsea’s sex-mad sexagenarian grandmother, all legs and leopard print, and as malevolent Queen Mary, while Christopher Lyne is hysterical as useless Prince Richard and ensures Chelsea’s dad Brian is the true heart of the piece. Prince Plockey also does impressive work as the Prime Minister and Uncle Vernon.

H.R. Haitch isn’t exactly biting satire, but it is good fun, and the cast elevate the show to a bright and breezy treat.

Theatre Royal Haymarket 15 – 17 May

Reviewed by Claire Roderick

5*****

The Mali Drama Theatre of St Petersburg add a touch of light relief to their season at the Theatre Royal Haymarket with a delightful version of Uncle Vanya. Director Lev Dodin injects energy and humour into the most stifling of scenes without completely dissipating the sense of hopelessness and ennui of Chekhov’s characters.

On a simple set with the bare minimum of props, the focus is on the actors, and yet again this company excels. Hearing Chekhov performed in Russian is a real treat.

The inactivity and lethargy of the household as they tiptoe around Professor Serebryakov (the wonderfully understated Igor Ivanov) is portrayed with a charming comedic lightness, with Sergei Kuryshev’s grand clowning gestures making Uncle Vanya more manic and desperate in this stifled house. Dodin pushes Sonia (Ekaterina Tarasova) and Elena (Ksenia Rappoport) to the forefront, and the two actors ensure their characters are much meatier than in some productions. Their bonding scene is a joy to watch and this is where Rappoport’s physical comedy talent is first seen after playing aloof and intense earlier in the play.

I really didn’t expect to laugh as much as I did, after watching many of this cast in the intense Life and Fate, but the deftness of comic timing, gestures and glances is incredible. Of course, being Chekhov, the ending isn’t exactly uplifting, but the simple shift of scenery, where the rafters of the house seem to finally crush Vanya and Sonia, and not just their spirit, is a remarkably effective choice.

With only 3 performances, this production of Uncle Vanya is a hidden gem that is unmissable for lovers of Chekhov, or just lovers of theatre.

Lyceum Theatre, Sheffield – until 19th May 2018.

Reviewed by Sophie Dodworth

5*****

For the majority, Cinderella is an ingrained tale from childhood, full of excitement, magic and pretty dresses. This theme is transferred on to the stage at The Lyceum but with so much more to offer. This version of Cinderella will have you pause in time, while you drink up the atmospheric elixir that Matthew Bourne is about to serve to you.

Matthew Bourne is well known for adapting popular plots and really filling out the content to the nth degree. The way that he almost finishes off adding the ingredients to story lines that you think can go no further, leaves audiences full of admiration.

The story is set in the 1940s and the essence of the era is delivered to you with gust in the first few scenes. The magnificent way that the performance starts with a cinema like screen, introducing the company is a real treat, moving on to a humorous version of what to do in the case of an air raid. In the first few scenes you see the Lindy Hop, Jive and some Charleston to really get you tasting the war time air.

Ashley Shaw, playing Cinderella is the star of the show with some fantastic duets, solos and innovative routines; for instance, in one scene she dances with 5 men all at once, assuming the typical male/female dancing hold position, done so tightly. The Angel, played by Liam Mower is one of the most captivating, professional performers. He manages to really capture the qualities of an angel and even though the costume is without wings, his fluid movements and wing like arms, almost paint them on with the imagination.

The ensemble were absolutely spot on, not a movement out of place, or at least not noticed. Clearly a very professional and well rehearsed cast with some great choreographic moments. A particular stand out moment is a scene when they are depicting drunken people in a bar, all extremely accurate and humorous.

Bournes’ choreography is challenging, intricate and ambitious; executed to perfection. Some very clever moments throughout the whole piece, keeping the audience on their toes and visually entwined in the artistic flair. A moment that must be mentioned is Cinderella dancing with a mannequin, a short way in to this scene, a dancer from the cast becomes the mannequin and it is such a show of talent, leaving you smiling in awe.

Lez Brotherston must take credit and a pat on the back for some beautiful costumes, especially the ball gown of Cinderellas’ which glistens and gleams on what seems like every single silver sequin that is sewn on. He also orchestrated the most interesting, accurate to the times, but almost modern-gothic set; an eye catching triumph.

Cinderella is a dance piece that dreams are made of. If you are a dance fan, a Cinderella fan or just a fan of jam-packed, joyful, whimsical theatre this is a must see.

The King’s Theatre, Glasgow – until 19 May 2018

Reviewed by Linda McLaughlan

5*****

Exceptionally Emotional Vocal Performance which would melt the most hardened of hearts Andrew Lloyd Webbers productions are always a fantastic experience and never fail to entertain. This was no exception. Having never had the pleasure to see the theatre production of Eva Peron’s life story I was privileged to experience the wonderful vocals of Madalena Alberto (Eva Peron), Gian Marco Schiaretti (Che) and Jeremy Secomb (Peron).

The story of Eva Peron has been well documented through media, film and theatre genres as we follow her rise to fame as one of the most powerful influences behind Peron’s political career, enabling hm to achieve a third of a million votes propelling Eva to the first Lady of Argentina. Over the coming years Eva or Evita as she be-comes known as “stretches a rainbow of beauty’ across Europe.

The musical score was outstanding with the epic well done song ‘Don’t Cry for Me Argentina’ which was very emotionally charged as Eva sings from the balcony to the public below and also to the ladies of Argentina who continue to turn their noses up to the once common actress and radio presenter. A past that Evita fights to defend and overcome through her fight for women’s right to vote, which was passed by law in September 1947.

Evita health is slowly deteriorating as she fights the crippling effects of cancer to which she undergoes treatment and operations. In 1951 Evita undergoes an operation which is unsuccessful. From her hospital bed Evita takes her first ever vote and sadly passes away at the tender age of 33. A loss to Argentina and Womens fight for equality.

Circa: Peepshow
Underbelly Festival, Jubilee Gardens, London SE1 8XX
Wednesday 27th June – Sunday 18th August 2018

Circa come to London with Peepshow, an exciting European premiere that turns cabaret on its head, literally. Join ‘the rockstars of the circus world’ as they embark on a seductive dance through the hall of mirrors that is your imagination. Peepshow lurches from the thrillingly acrobatic to the comically playful with teetering towers of balanced bodies, extreme bending and devilishly precarious aerials

By makers of the smash-hit shows Humans, Beyond, Wunderkammer and Closer, Peepshow combines some of the finest acrobatic talent on the planet under the direction of circus visionary Yaron Lifschitz to create an exhilarating ride into the beautifully bizarre recesses of your mind

Playing with the extreme physicality of this troupe of phenomenal acrobats, Circa blur the lines between movement, dance, theatre and circus. Exploring the concept of looking and being looked at, Peepshow uses circus to explore themes of gender and sexuality on the stage

Yaron Lifschitz comments, I hope that Peepshow is one of those shows which is able to transform people’s expectations, bringing us new sensibilities with unexpected pleasures, and bridges the world between art and entertainment. Peepshow is the latest in Circa’s latest postcabaret adventure. These take the form of cabaret and Circa’s medium of circus, add some extra ingredients (in Peepshow’s case a nightclub, a dream and ideas of looking) and shake. They shake so hard things break, stick together and turn wonderfully weird. The resulting cocktail is a
fantasia designed to thrill and delight

Taking over Underbelly’s spiegeltent with a nightclub vibe, most of Peepshow’s music is an original track written by Ori Lichtik (Batsheeva Dance Company) with an interlude of Sweet Dreams (originally by Eurythmics). Peepshow lets audiences see the world from the other side of the mirror

Circa Contemporary Circus is one of the world’s leading performance companies. To date, Circa has toured to 39 countries across six continents and in 2016 alone performed over 450 performances to over 180,000 audience members locally, nationally and internationally. As a champion of live performance, Circa manages arTour and was the Creative Lead for the Gold Coast 2018 Commonwealth Games arts and cultural programme

Circa acknowledges the assistance of the Australian Government through the Australia Council, its arts funding and advisory body and the Queensland Government through Arts Queensland

CLIVE FRANCIS ON 84 CHARING CROSS ROAD

Star of stage and screen Clive Francis offers an insight into his pivotal role in 84 Charing Cross Road coming to Darlington Hippodrome from Wednesday 23 May.

This will now be my third voyage down Charing Cross Road to mix with the worthy inhabitants at number 84; only this time with fresh eye on the production. James Roose Evans, who not only cleverly adapted the letters in the first place, but has directed practically every major production in this country and Broadway since the plays birth in 1981, has now relinquished the reins to director Richard Beecham, who has brilliantly assembled a cast of actor musicians making up the staff of the shop, so that the evening is cleverly punctuated with music and song.

84 Charing Cross Road is a love story between two people who never, in the twenty years of corresponding with each other, actually ever meet. It is a quietly joyful, meditative portrait between the New York screenwriter Helene Hanff and the London based bookseller Frank Doel, a correspondence that touches them both profoundly.

Frank Doel is a fascinating character and being a book collector myself (my interest being 20th century English first editions), someone I would love to have met. His knowledge and passion for book collecting is clearly illustrated by the reverential respect shown to him by the owners of every London based bookshop; all of whom turned out in force to attend his funeral in1968. Doel was meticulous to a fault, and when he wasn’t racing around the country buying up books to replenish the stock of Marks and Co, he made it his job to know and compare prices of anything of interest that might be on offer in those of his rival shops too. An extremely private man and very protective of his family he nevertheless strikes up an extraordinary plutonic friendship with Helene Hanff; a friendship that’s never fully realised. It begins quite formally between bookseller and customer, he referring to her as ‘Madame’ and she to him as ‘Sir.’ By the end all formality is dropped and a deep loving understanding between them grows. The letters also gives the audience an insight into a particular kind of English civility that has in effect sadly passed away.

As actors the difficulty for both myself and Stefanie Powers is that we have to conduct this relationship without ever once being unable to look at each other; a difficult exercise, and yet at the same time, thanks to the brilliant way that the letters have been edited and adapted for the stage, rewarding. People tend to think of 84 Charing Cross Road is a two hander. This is not strictly true as we get to know and delve into the lives of each member of staff as well, who in turn all become as close to Helene Hanff as Frank Doyle eventually does. It is an evening full of nostalgia and fun and I would like to think timeless.

84 Charing Cross Road runs at Darlington Hippodrome from Wednesday 23 to Saturday 26 May.

For more information or to book call 01325 405405 or visit www.darlingtonhippodrome.co.uk

Can’t get a ticket for Hamilton…

THE UK PREMIÈRE OF SPAMILTON: AN AMERICAN PARODY

GOES ON SALE AT 9AM ON 16 MAY

£19.50 TICKETS AVAILABLE FOR EVERY PERFORMANCE –

WITH OVER 1000 TICKETS AVAILABLE ACROSS THE RUN

ALSO ON SALE TODAY £19.50 TICKETS ACROSS ALL PERFORMANCES OF

THE UK PREMIÈRE OF THE GRÖNHOLM METHOD

As the UK première of Spamilton: An American Parody goes on sale to the public, the Menier Chocolate Factory announce a brand new pricing policy across the season – tickets will be available for all performances of Spamilton, and The Grönholm Method from just £19.50. These tickets go on sale at 9am on 16 May, and are available to everyone to enable work at the company’s home to be accessible to all.

With The Grönholm Method currently previewing at the Menier, the critically acclaimed Travesties recently opened on Broadway and The Color Purple on tour in the US, Spamilton: An American Parody opens at the theatre on 24 July, with previews from 12 July and runs until 8 September. The production renews Gerard Alessandrini’s collaboration with the Menier following two critically acclaimed seasons of Forbidden Broadway which ran both at the theatre and in the West End. Over 1000 tickets across the run will be available at £19.50.

Hamilton – Olivier, Tony, Pulitzer and Grammy Award-winning musical. Very few tickets available.                                                                      

Spamilton: An American Parody – Hamilton and much more. With tickets available…

Gerard Alessandrini brings his singular wit to the all-conquering musical Hamilton – in the words of its creator Lin Manuel Miranda, “I laughed my brains out”. Following the success of Forbidden Broadway, Alessandrini returns to the Menier to lampoon the multi-award-winning Hamilton, with Spamilton: An American Parody, which not only takes target at Broadway’s biggest export, but a host of the theatre world’s biggest names and musicals.

Described by the New York Times as “smart, silly and convulsively funny”, Spamilton: An American Parodymakes its UK debut at the Menier Chocolate Factory, where unlike the Victoria Palace, there are tickets available – at a fraction of the price.

Gerard Alessandrini is best known for creating and writing all 25 editions of Forbidden Broadway in New York, Los Angeles, London and around the world. He features in the original 1982 cast of Forbidden Broadway, and can be heard on four of the show’s twelve cast albums. He also sings on the soundtracks of the Disney classics Aladdin and Pocahontas. Television credits include writing comedy specials for Bob Hope, Angela Lansbury, and Carol Burnett. Directing credits include Maury Yeston’s musical In the Beginning, and a revue focusing on Yeston’s songs Anything Can Happen (In the Theatre). Recent musicals which he co-wrote and/or directed include Madame X (NYMF 2011) and The Nutcracker and I (a complete Tchaikovsky score with all new lyrics by Alessandrini). He is the recipient of an Obie Award, two Lucille Lortel Awards, a Lifetime Achievement Award from the Drama League, and seven Drama Desk Awards – including two for Best Lyrics, and two Special Lifetime Awards. He was also awarded an Honorary Tony Award for Excellence in Theatre.

Choreography is by Gerry McIntyre, with Arrangements by Fred Barton and Musical Direction by Simon Beck; Set Design is by Morgan Large, with Costume Design by Dustin Cross, Lighting Design by Tim Lutkin, and Sound Design by Gregory Clarke and Jon Everett.

Produced in association with John Freedson, David Zippel and Christine Pedi.

Listings Information

Spamilton: An American Parody

Venue:                                Menier Chocolate Factory

Address:                             53 Southwark Street, London, SE1 1RU

Press performance:         24 July at 8pm

Dates:                                 12 July – 8 September

Times:                                Tue – Sat 8pm, matinees Sat and Sun 3.30pm

Box Office:                         020 7378 1713 (£2.50 transaction fee per booking)

Website:                        www.menierchocolatefactory.com (£1.50 transaction fee per booking)

Tickets:                               Prices vary, as below from discounted preview tickets to premier seats. With the emphasis on ‘the sooner you book, the better the price’:

                                             Prices from £19.50

A meal deal ticket includes a 2-course meal from the pre-theatre menu in the Menier Restaurant as well as the theatre ticket.

www.menierchocolatefactory.com

Twitter: @MenChocFactory