Yvonne Arnaud Theatre – until 28 April

Reviewed by Heather Chalkley

4****

Many debates and articles have been written about Turn of the Screw. Are the apparitions real or imagined? Has the children’s isolation from society caused a seemingly unhealthy balance in relationships, between brother and sister, upper and lower classes? This is a ghost mystery with a difference, employing Freudian concepts of psychoanalysis to twist your mind. James’ original story had complex layers of narration within narration. Tim Luscombe has stripped it back to the first person, inviting the audience to make their own decisions.

This is the tale of a young and vulnerable woman with an overactive imagination and ambitions to prove and improve herself. The sexually repressed Governess, played by Carli Norris, gave a believable performance, flipping between her young self and present day (1897). The decline into neurosis and hysteria was well conveyed, bringing the story to an inevitable climax in the revealed death of the boy.

Maggie McCarthy’s Mrs Grose, provided the perfect susceptible, stooge for the Governess that injected a much needed element of humour at times. Michael Hanratty has to be commended for his transition between the three male characters, including the apparition of Quint! In the same way Annabel Smith provided clear distinctions between Flora as the woman and child. Smith’s adult Flora smoothly developed the story in the first scene, bearing an oppressive and insistent pressure down on to The Governess.

Director Daniel Buckroyd has expertly used every nook and cranny of the small stage to eek out maximum dramatic impact, encouraging the audience to visualise lakeside, country house and London all in the same space.

Adam Hall created a twisted and dark atmosphere before the play even started, with an asymmetrical frame to the set, white dust sheets and long shadows. Matt Leventhall and John Chambers, use lighting, music and dramatic sound effects to produce classic, eerie ghostly effects, making people jump out of their seats more than once!

I would say this is more a lesson in psychoanalysis than a ghost story to enthral! I believe Henry James would be surprised and pleased with this adaptation, probably still smiling to himself at how much it leaves people to debate whether there are hidden messages in his story.

The Grand Theatre, Leeds – until Saturday 28th April 2018

Reviewed By Dawn Smallwood

3***

An Officer and a Gentleman, the Musical is based on the 1982 film starring Richard Gere and written by Douglas Day Stewart. The musical had an Australian premiere back in 2012 but received mixed reviews. Nikolai Foster, Artistic Director at Leicester’s Curve Theatre, directs this new production and along with Kate Prince’s choreography. The world premiere of this new production began its current UK tour in Leicester and will finish in Glasgow later in the year.

The story is based on Zack Mayo (Jonny Fines) who trains to become a pilot in the US Navy and faces obstacles along the way. With a turbulent family background he is determined to become resilient and successful. During his training he falls in love with Paula Pokrifki (Emma Williams), a local girl who has dreams in bettering herself, and there are the struggles when he deals with the tragedy of his friend and training candidate, Sid Worley (Ian McIntosh).

The musical is set to well known familiar hits of the 1980s such as the very memorable Up, Where We Belong and also other hits including Heart of Glass, Alone, Material Girl, I Was Made for Lovin’ You and The Final Countdown.

An Officer and a Gentleman, the Musical contains themes of an adult nature and looks further into individuals and their societal backgrounds. Their circumstances give them impetus to better themselves and prove others wrong that anything is possible if one puts their mind and heart to it. The role of women is looked into and how Casey Seegar (Keisha Atwell) becomes the first women ever to become a Navy officer and how Mayo (Fines) defies odds to eventually be given an assignment in the Navy. The musical numbers link well to the story and the characters.

The musical certainly entertains but offers the audience to think beyond the themes raised with the feelings of pessimism and reality but also optimism and hope. Foster has certainly put this production creativity well with familiar hits and a story which parallels can be drawn in today’s society. There are longer pauses between some of the scenes/musical numbers in the production which could be minimised and flow smoother. One must remember that the production is very young and such technicalities will no doubt be continuously reviewed. It is a feel good show with stunning sets with visual backdrops and the talented cast and creative team have put on such an enjoyable show. One of the highlights is certainly the fantastic finale which is received very well by the audience – evident with the standing ovations at the very end.

An Officer and a Gentleman, the Musical is a show for a good night out and certainly a must for a 1980s music fan

Arcola Theatre – until 19 May

Reviewed by Claire Roderick

3***

Art professor Melissa’s (Sarah Alles) life is stagnating. She cannot paint and seems to survive on a diet of whisky and walnuts. On the night that she decides to end it all, she is interrupted by the arrival of former student Mehdi (Moe Bar-El). They had a tentative relationship before he disappeared for two years. Since then she has married, but Mehdi makes himself at home when he hears that her husband is away on business.

Mehdi is followed by his best friend Khan (Ali Azhar) whose odd behaviour is mystifying until it becomes clear that he is dead and can only be seen by Mehdi. He is caught in the in-between, and the promised virgins are nowhere to be seen.

Marion Bott’s clever writing slowly reveals, amongst Khan’s more mystical meditations, hints about what exactly the two men were doing, revealing the camaraderie they felt as they were recruited and trained by the caliphate, and eventually the horrific weight of guilt the Mehdi is carrying. As Khan talks about the day he died, Mehdi’s mantra of “I choose to forget” becomes weaker and weaker. As he asks Melissa to teach him to paint again, it is unclear if he is seeking redemption or revenge, and his vicious reaction when she discovers his past is both terrifying and the pitiable defensive aggression of a frightened and trapped child.

Bott hasn’t written the men as monsters, recognising the fact that any disenfranchised person is vulnerable to radicalisation, and the danger of Mehdi continuing terrorist acts after his return to Berlin seems very real for most of the play. Melissa’s numbness enables her to look at Mehdi’s choices without judgement, but the deep musings they share can at times feel a little like a Dr Phil/Oprah Winfrey self-help special, although the couple both seem to be on the right path to finding truth and freedom through art by the end of the play. The language can sometimes feel a little correct and overwrought, but that may be down to Bott’s French-German background – every German schoolchild I’ve ever met can form more intricate and grammatically correct sentences than native English speakers – and you soon get into the rhythm of Bott’s writing.

Director Zois Pigadas brings the best out of the talented cast, and with movement coach Jess Tucker Boyd has created beautiful sequences with Alles and Bar-El performing balletic synchronised actions to great effect. The impressive cast all deliver memorable performances and maintain the intensity throughout the play.

A play about returning ISIS fighters may not sound like a barrel of laughs, but Moormaid has many lovely light moments and is an intriguing tale about faith, friendship and moving on.

Salisbury Playhouse – until 5 May
Reviewed by Jo Gordon
3***

Based on a novel by J Meade Faulkner written way back in 1898, Moonfleet is the newest musical to come out of the Salisbury Playhouse from a collaboration by Russell Hepplewhite and Gareth Machin. Set in a coastal village named Moonfleet we meet John Trenchard (Ryan Heenan), a 16 year old orphan who resides with his strict Aunt Jane (Rhona McGregor).  Locals tell a tale  that the village is cursed, bestowed upon them after Col. John “Blackbeard” Mohune (Ashley Mercer) stole a diamond from King Charles I and young John believes to find the diamond would break that curse.  Whilst beginning his adventure to find the jewel he discovers a local smuggling ring that runs in and out of the local ale house run by Isabelle Block (Rebecca Lock) who ends up taking John in as her own but after an unfortunate incident involving the death of Magistrate Maskew (Earl Carpenter) they have to leave the village quickly and life becomes very different.

The sight of Dorset based accented, ale swigging, tail coated Pirates always excites me, I hold my hands up to admitting I’ve always thought that I would make an excellent shipmate due to my penchant for rum and loud singing .With mood lighting and smoke the set works well to establish the dark and murky environments of moonlit beaches, damp caves and wooden ships.  A sometimes clunky feeling production that I struggled to follow at times despite knowing the plot.  However if you put that to one side the vocals are fantastic with Earl, Ashley and Rebecca’s background it was a real treat. A great cast with the lead character of John showing that we all have an adventurer in us waiting to be set free!

Lyceum Theatre, Sheffield – until 28th April 2018.

Reviewed by Sophie Dodworth

4****

Movie star glitz, glamour and romance oozes at the Lyceum Theatre with this famous, popular musical. This tour follows a successful run at Londons’ Coliseum Theatre and much of the cast have stayed the same. This production lands in the Sheffield theatre, bringing the essence of the West End with it; professional and polished.

Based on Billy Wilders’ 1950s’ award winning film, the story follows Norma Desmond, a faded star living in her mansion on Sunset Boulevard. She meets aspiring writer Joe Gillis who sees a money making opportunity in Norma, by offering to help her with a script she wrote years ago. A relationship between the pair develops although it is clear both have different motives. When Betty Schaefer is introduced in to the mix, things become dark leading to jealousy, insanity and finally murder.

The score for this production is insanely dramatic, filling the auditorium with energy and anticipation. There are some super big moments in the music, including the show stopper ‘As If We Never Said Goodbye’ sung by Ria Jones (Norma). This number gets you on the edge of your seat, watching the actress give it her all, air grabbing at every opportunity and it is absolutely outstanding. ‘The Greatest Star Of All’ sung by Adam Pearce (Max Von Meyerling) leaves mouths open, smiles on faces and hearts full of melody. Pearce has a range like no other, able to get right down to bottom bass notes and straight back up to falsetto with perfect execution. His voice is like warm, smooth velvet and takes you on a journey on which you will pay full attention to. Credit to the 16 piece orchestra who send vibrations through the auditorium with their perfect dedication to the extravagant Andrew Lloyd Webber score.

Ria Jones steals the show with her portrayal of Norma, making the character believable and inviting the audience in to sympathise with her. She is evidently a very experienced actress with a great stage presence, charisma and charm. Danny Mac, playing Joe Gillis, suits the attitude of the role well, cheeky, smooth and ambitious. Macs’ voice is sometimes challenged when reaching the falsetto ranges and could do with a touch more diction.

Colin Richmond (Set and Costume Designer) and Ben Crackell (Lighting designer) do a phenomenal job with the ambiance and structure of the set. This is really evident the entire way though the show, many a scene has its mood determined just by the lighting and set.

This is the kind of theatre that leaves you thinking about it the next day. It has a story that will resonate with you and a musical score that only the strongest of folk would be able to resist singing for the foreseeable future.

The Underground, Bradford – until Saturday 5th May 2018

Reviewed By Dawn Smallwood

5*****

Freedom Studios presents and brings When We Were Brothers for its world premiere at The Underground Bar in Bradford. Written by Ben Tagoe this play explores the journey of two men growing up in the world and it raises relevant issues and the expectations it brings, which are crucial in today’s society.

Intimately set in a bar where the small audience can have a drink while they watch the play. The three person cast narrate chronologically key events in the lives of Danny (Levi Payne) and Tommo (Philip D McQuillan) and they share with the audience their childhoods, growing up and their highs and lows. There is point when both boys reach 18 years old and when they go their separate ways – Danny goes down to London to study at university and Tommo stays in Bradford and work.

Stigma around mental health in men is raised and well documented with Tommo recollecting that “Lads don’t cry” when he shares his experiences of his grandfather’s funeral and is conditioned to put a “front” and close conversations with “Mate, I’m fine” and “I don’t want to talk about it”. There is vulnerability with Tommo following his relationship with his Uncle Trevor and the bullying he experienced and also the loss of his baby girl. These events take its toll and he ends up being desperate and unable to cope anymore. It leaves him sending a message to Danny who detects there is something wrong and is the only person who probably can help him.

One must admire the excellent performance from beginning to end from McQuillan (Tommo), Payne (Danny) and Vanessa Pound (Julie). They portray the characters really well and successfully identify the crucial issues. The production is entertaining but poignantly raises awareness around men and mental health. Awareness of such issues is present with the beer mats on the tables advertising services from CALM (Campaign Against Living Misery) and their aim is to keep men alive by talking. Their aim is to prevent male suicide which is reported as a single killer of men under 45 years in this country.

Freedom Studios are reputed to present productions that touch and raise issues that really matter and When We Were Brothers is no exception. An excellent production, under the direction of Aisha Khan, is set in such a relaxed setting, in a bar, which creates the right mood and ambience for people, particularly men, to talk. The bar was a focal point for both Tommo and Danny where they parted and reunited during the play.

When We Were Brothers meet the criteria for a night out and is highly recommendable. The production is playing in Bradford and also at Bolton’s Reveal Festival.

Jack Studio Theatre – until 28 April

Reviewed by Claire Roderick

3***

After being married for 20 years, Gordon and Helen’s retirement in Spain was meant to be idyllic, seeing out their golden years in the sun. The reality is very different. Gordon is bored but unwilling to try anything new that might add colour to his days of sitting, drinking and talking, and talking, and talking… Helen survives by throwing barbed comments at him, and escaping every day to the café for some precious moments of peace and quiet. The arrival of Cath, younger and adventurous, throws their dull lives into turmoil in this tightly plotted comedy.

Vital Signs Productions mission is to challenge the way older people and older actors are perceived, and founder Adrian McLoughlin’s debut play does just that. Although Gordon (played with an admirable lack of vanity by McLoughlin – this vain, droning character makes Richard Briers’ character in Ever Decreasing Circles look like a trophy husband) is determined to behave like an old man, laughing at the idea of trying something new at 70, Helen is quietly seething with frustration and pent-up energy. Deborah Maclaren keeps Helen just the right side of bitchiness in her interactions with Gordon, always allowing a glimmer of guilt to slip through after each snarky comment. Cath is a slightly trickier character, but Anneli Page slowly and expertly builds up the layers to reveal the insecurities behind the bravado.

The play builds slowly, beginning like a typical Brits Abroad comedy, but McLoughlin takes the plot in directions you just don’t expect – outrageous, but never unbelievable. The post-coital scenes are beautifully written, demonstrating sweetly that first-time sex is stressful whatever your age and experience. You may have to stifle your urge to cheer when Helen finally bites the bullet and decides to make changes in her life, but you’ll probably be too busy laughing.

This is a fine debut from McLoughlin, a wickedly funny comedy that is well worth a look.

Strictly Stars Remember Hollywood Legend

Strictly Come Dancing shows celebrate the life of Fred Astaire.

Join Strictly Come Dancing favourites Aljaz Skorianec and Janette Manrara for a celebration of the legendary Fred Astaire in Remembering Fred at Hull New Theatre on Saturday 12 May.

A celebration of the incredible talent of the Hollywood icon, the 2018 Remembering Fred tour features new songs, new dances and a fresh new look, backed by a full supporting cast of dancers, live band and singers.

Tickets for Remembering Fred at Hull New Theatre on 12 May are on sale now. Book via the Hull City Hall Box Office, call 01482 300 306 or visit www.hulltheatres.co.uk.

THE RHYTHM METHOD

A musical love story (with contraception)

 

 

The Stable developing & producing new musicals

 

Today, The Stable announces the full cast of THE RHYTHM METHOD, an extraordinary new contemporary British musical in the making. A show about the stuff that’s difficult to talk about – sex, relationships and contraception.

 

The cast of top West End actors are: the award winning Fra Fee (The Ferryman – Royal Court, West End and now Broadway bound, Candide – Menier Chocolate Factory, Les Miserables – West End and film);Melanie Marshall (Guys and Dolls – Royal Exchange Manchester, Jane Eyre – National Theatre, FELA! – National Theatre & Broadway); Emile Ruddock (5 Guys Named Mo – Marble Arch, The Scottsboro Boys – Garrick Theatre); Jennifer Caldwell (Mamma Mia, Shrek The Musical) and Annie Wensak (Half A Sixpence – Noel Coward & Chichester Festival Theatre,Seven Brides for Seven Brothers – Regents Park Open Air Theatre).

 

THE RHYTHM METHOD headlines Fertility Fest (12-13 May) at The Bush Theatre – and the show then transfers to The Landor for a run of just six performance showcases with audience discussions from Monday 14 – Friday 18 May 2018.

THE RHYTHM METHOD is set in the near future where family planning no longer receives state support, telling the emotional and physical journey of the friends that meet at Lady Pearl Grey’s (Melanie Marshall) cosy little Tea House, where the brew is hot and the eggs are freshly laid – and all served with love and understanding. After all, the Tea House sports a weathered green plaque outside, for it was once the first Marie Stopes’ Mothers’ Clinic founded in 1921.

As the welfare state fades and austerity kicks in, the Tea House is a life line for the ever-changing facts (and fictions) of life. Pearl and her dearest friend Mimi (Annie Wensak) have shared a life-time of experience in family-planning, and now they are needed more than ever. When grand-daughter Flick (Jennifer Caldwell) arrives and meets Fra Fee‘s young scientist Sol who is on the brink of medical greatness, can each find their true rhythm and the best method by which to live it?

With only 6 performances at The Landor, the audience will be given an unique musical theatre experience to see THE RHYTHM METHOD showcase, directed by Titania Krimpas. The audience will then play an important role themselves in helping to inform and evolve the musical to the next stage of the show’s life, by joining the creative team and the fertility experts contributing to the development of the project, for a lively discussion!

THE RHYTHM METHOD is the small and perfectly formed chamber musical, by the writing partnership of singer, composer and multi-instrumentalist Gwyneth Herbert and playwright Diane Samuels. Their first musical collaboration was The A-Z Of Mrs. P, about the pioneering Phyllis Pearsall mapping an entire city into her 1936 pocket-sized A-Z Street Guide of 23,000 streets + house numbers(!) – Southwark Playhouse (2014). Gwyneth is currently touring Letters I Haven’t Writtenwith her band, and Diane Samuels‘s hauntingly moving play Kindertransport is currently on national tour.

 

THE RHYTHM METHOD – Bringing arts and science together.

Fertility experts joining THE RHYTHM METHOD discussions include: Lesley Hall (retired curator at the Wellcome Trust, specialist in Family Planning history); Alana Harris (Catholic academic specialising in religion and contraception); Ann Eady (pioneering family planning nurse, coil specialist) and John Guillebaud (academic in reproductive medicine / population activist).

THE RHYTHM METHOD is produced by The Stable with development support from The Wellcome Trust.

LISTINGS INFORMATION

THE RHYTHM METHOD – A musical love story (with contraception)

MONDAY 14 – FRIDAY 18 MAY 2018

THE LANDOR (70 Landor Rd, London SW9 9PH)

 

Monday                               14/05/18 7.30pm (19:30hrs)

Tuesday                               15/05/18 7.30pm (19:30hrs)

Wednesday        16/05/18 2.30pm (14:30hrs) matinee performance

16/05/18 7.30pm (19:30hrs)

Thursday                             17/05/18 7.30pm (19:30hrs)

Friday                    18/05/18 7.30pm (19:30hrs)

Box Office:         www.landorspace.com/rythm-of/

 

All Tickets:                   £11.00p

A TOUCH OF VEGAS COMING TO DARLINGTON

Direct from an acclaimed West End season, the Olivier Award-nominated The Rat Pack – Live from Las Vegas is on its way to Darlington Hippodrome with a very special guest star.

With Garrett Phillips as Frank Sinatra, Nigel Casey as Dean Martin and David Hayes as Sammy Davis Jr, Nicola Emmanuelle joins the show as Ella Fitzgerald to celebrate the First Lady of Song and Queen of Jazz.

Extra songs featured in this special new edition of the hit production will include Night and Day, The Lady is a Tramp, Mack the Knife and S’Wonderful, with Ella duetting with both Frank and Sammy. Joanna Walters, Amelia Adams, Rebecca Parker and Laura Darton complete the cast as The Burrelli Sisters.

At the start of the 1960s, The Rat Pack led by Frank Sinatra, Dean Martin and Sammy Davis Jr. were the toast of Las Vegas. With the world’s rich and famous jetting in to see them joke around and sing some of the finest songs ever written, the guys also starred together in a series of glamorous Hollywood films, set fashion trends, rubbed shoulders with the US President, politicians and mobsters… and partied hard as the coolest cats on the planet.

The Rat Pack – Live from Las Vegas recreates that special time. Prepare to drift back in time to an era of glitzy nights spent on the Vegas strip in the company of three of the world’s most popular entertainers. This spectacular production celebrates the incredible singing talent of three world-famous entertainers and performers and some of the finest music and song that has ever been recorded. Frank, Sammy and Dean are once again performing in the world-renowned Copa Room at the famous Sands Hotel, supported by the fabulous Burrelli Sisters and The Rat Pack Big Band in a critically acclaimed show that clocked up over 1,000 performances on its West End premiere.

Frequently imitated but never bettered, The Rat Pack – Live from Las Vegas features hit after hit, including The Lady is a Tramp, Mr Bojangles, That’s Amore, I’ve Got You Under My Skin, What Kind of Fool Am I?, Volare, My Way, Candyman, Everybody Loves Somebody and many, many more. If you wish you’d swung with the hardest partying pack in town, now’s your chance!

The Rat Pack – Live from Las Vegas runs at Darlington Hippodrome from Tuesday 8 to Saturday 12 May.

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