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Richmond Theatre – until 16 February 2019

Reviewed by Prachya van de Gevel

4.5****

Thrilling to the end !

I have to confess I had only ever heard of the film, with Emily Blunt before going to see this play, based on the novel of the same title by Paula Hawkins.

So I had no idea of the premise of the storyline or what to expect, but I was in for a real treat. In some ways the sets were basic and in other ways they were intricate and immersive but the focus was solely on what was not there . The negative space. This seems a common theme throughout the play. What was not seen

What stood out was Samantha Womack in the lead role of Rachel Watson, She filled all the negative space with her energy and emotion and kept you guessing with what was happening.

The lead character is lost in turmoil, caught in a world between the fantasy and reality … many alcohol fuelled blackouts (negative space) leading her to position herself further into a world of mystery. I am being very careful not to give away the story. The premise is that a woman everyday lost in her emotions and fresh from being divorced from her estranged husband , witnesses a couple from her train window and gets caught away in fantasy in her head of the couple she sees until the a girl goes missing and the reality lands on her doorstep.

Samantha is joined by Oliver Farnworth as her estranged husband  in the role of Scott and his acting as well as that of Tom (Adam Jackson-Smith) can’t match the seasoned abilities of Samantha, I felt that both their performances as the (ex) partners of the central roles,  don’t give me the chills like the role of Rachel.

I felt no empathy towards Tom as someone who had recently discovered his wife was missing as he played it off with such callousness, and with the character of Scott, I felt that there was times he wasn’t sure how to position his body language and simply awaiting his next line, almost not quite sure where to place himself.

Similarly Naeem Hayat as the Kamal Abdic only really came alive towards the 2^nd half of the play, and from where I was sitting this was a sentiment shared by others in audience.

The male standout came from John Dougall,  playing DI Gaskill, who created  much needed humour and  alongside Samantha definitely stole the scenes he was in.

His performance was flawless and I found myself looking forward to seeing him next, knowing that he would provide a relief from being on the edge of my seat!

And for me his character really showed diversity and one liners that I still remember fondly.

Going back to the negative space theme is where Kirsty Oswald really shined. She did not have many lines, but poised in the background creating flashback scenes was a very clever

Use of the stage space and directing and I found myself getting immersed into the visual retelling of the play, I was very impressed with the way this was represented, of course the use of music and lighting helps to capture the poignant and dramatic moments to great effect.

The supporting cast of Anna Watson played by Lowenna Melrose and Matt Concannon and Phillipa Flynn, rounded out the cast, but in truth they were not memorable a but just added to the scenery to help move the story along.  I am being careful not to divulge too much of the story line here, but what I can say is that as someone that enjoys a great mystery that needs to be solved, you will think you have cracked the case by the interval , and by the end… just you wait and see!

Grand Opera House York – until Saturday 16th Feb 2019

Reviewed by Michelle Richardson

3***

Saturday Night Fever has hit York in this newest adaptation by Bill Kenwright. Based on the iconic 1970’s film, it has a lot to live up to, and a show I was really looking forward to, seemed right up my street.

It tells the story of Tony Manero (Richard Winsor) who is unhappy at home, works in a local store but secretly dreams of being a dancer. He is the “IT” guy at the local disco, strutting his stuff, he’s the one all the girls hit on and all the boys wanna be him. The club announces a dance contest with a $1000 top price, Tony just has to find himself a worthy partner. After partnering up with Annette (Anna Campkin) his interest is captured by Stephanie Mangano (Kate Parr), and Annette is effectively dumped. The story follows their relationship, on and off the dancefloor, as well a grittier stuff, touching on religion, pregnancy, abortion and suicide.

When the curtain raises, we are treated to a fab performance of Stayin’ Alive by three sound alike/look alike Bee Gees (Edward Handoll, Alastair Hill and Matt Faull), resplendent in their gold lamé suits, whilst the main cast are grooving away, getting the audience into the swing of the 1970’s disco vibe. The “Bee Gees” remain on a platform overseeing the stage, for most of the show, singing the classic songs that the show is renowned for, only occasionally accompanied by pre-recorded music. I have got to say that these three were a real highlight of the show for me, their vocals were on-point and you could believe they were the real deal. I didn’t realise how much I actually enjoyed listening to the Bee Gees until now.

The set and staging were quite simple, but effective. Seamlessly changing from Tony’s house, to his work, the disco and Brooklyn bridge with apparent ease, with the platform being a constant. The costumes were fitting, flares aplenty, and some incredibly tight trousers.

The famous white suit does make an appearance, and we get to see Winsor strip down to his undies in order to don the said suit, much to the enjoyment of the audience, a few cheers and cat calls could be heard. Winsor is virtually on the stage at all times, a lot of dancing is involved. He certainly has a lot of energy but perhaps not enough swagger to quite pull off what I imagined Tony to have. I felt that the chemistry between Tony and Stephanie, was somewhat lacking, I wanted to feel more, but it just wasn’t there.

The dance sequences are very lively and I was amazed how the cast kept going throughout the whole show, swaying hips and all. I was exhausted just watching their stamina, very impressive. I must mention DJ Monty (Faizal Jaye) here, another highlight, he really got into the swing of things, working that platform, he took the whole energy up to another level. Oh to have such moves!!

I really wanted to love this show but I didn’t. Don’t get me wrong, overall I did enjoy it but it was missing something, can’t put my finger on it, it was just a bit underwhelming. It is still really worth a trip out to the theatre to see this fast paced show with some great music, you will be entertained.

Crucible Theatre, Sheffield – until 23rd February 2019

Reviewed by Charleigh Christmas

5*****

Githa Sowerby, author of Rutherford and Son, is having a revival. I was aware of this before coming to see the show, but I had no expectations about what I was going to be seeing. I was blown away!

The story, although written in 1912, seems very relevant in modern times. Set around a family living in fear of their oppressive bullying father Rutherford played by Own Teale, who’s sole concern is the business he’s built from the ground up.

We watch as Rutherford’s three children are ground down under the pressure. First we have John (Ciaran Owens) and his wife Mary (Danusia Samal) a working girl from the south. Returned to the home of his father after trying to strike out alone, with their young son in tow.

Richard (Esh Alladi) who has been bullied so much by his father, he has turned to religion as an answer.

Then there is Janet (Laura Elphinstone) an old maid at 36, with no love prospects and forced to do the bidding of Rutherford all she wants is to find a man of her own.

Finally there is Aunt Ann (Marian Mcloughlin) an ever present woman who has an unwavering faith in Rutherford.

This play had an undertone of the women’s rights movement, as we see women being constantly put down and made to be in their traditional place. This is challenged later on by Mary (Danusia Samal) who has a more business minded look at life and will do anything to protect her son.

The acting was phenomenal. I found myself being completely sucked in by the scenes between Teale and Elphinstone in particular. The serious nature of the play was cut through with some genius comedic timing by Ann who had the entire audience chuckling along. Mrs Henderson’s (Lizzy Roper) scene was one I was telling someone about after the play as being one that I really feel like we got to see the unflinching coldness of Rutherford. And Martin (Brian Lonsdale) did and amazing job of driving the story forward and again making us feel a real hatred towards Rutherford.

Set in the Living room of the Rutherford’s home, with a foreboding portrait of Grandfather Rutherford watching over them. I think the set was perfect, very in theme and with the right amount of colour. I particularly liked the lit fire the people were prone to gather round on a cold northern night.

The play did end a bit abruptly for me, and I was expecting more of a resolution, but I think the way it ended was perfect, leaving it with the right amount of ambiguity. I would definitely recommend watching this one if you get the chance.

Bristol Hippodrome – until 16 February 2019

Reviewed by Lucy Hitchcock

4****

From the creators of The Play That Goes Wrong, Mischief Theatre, The Comedy About a Bank Robbery abseils into the Bristol Hippodrome and steals your breath as you hyperventilate with laughter!!

Written by Johnathan Sayer, Henry Lewis and Henry Sheilds, this show brings jaw dropping staging, hilarious dialogue and outrageous characters! Following the upcoming heist of a diamond worth $500,000, we watch Mitch Ruscitti played by Liam Jeavons, Neil Cooper, played by David Coomber and Caprice Freeboys played by Julia Firth as they manipulate their way into a bank in order to pull off this dangerous act. The complicated and perfectly executed choreography during the show involved slapstick that Charlie Chaplin would have been proud of! The set design was impressively intricate, with a gravity defying scene where the audience is seeing a birds eye view of the bank office from above. This was so powerful to watch, as the audience could not believe their eyes and were just waiting for something to go wrong-as Mischief Theatre has a tendency to do so! This scene gave the show the WOW factor and proved that this production is worth their Olivier Award! 

Some parts of the show were a tiny bit over done, but with astounding vocals from Ashley Tucker as Ruth Monaghan, you forgot about it quickly. The real show stealer was Jon Trenchard as Warren Slax. He emulated hilarity and his precision and comedic timing was phenomenal. He really played up to his role, captured the audience in their hearts and then catapulted them into his life without a second look; Trenchard is a truly splendid actor. 

This play went very right, the Robbery was successful-for some! Proving that they earn the stage in the Criterion Theatre in London’s West End, Mischief Theatre grace Bristol with their show! Mischief certainly has been managed!

New Wimbledon Theatre – until 16 February 2019

Reviewed by Alexandra Sykes

5*****

It’s not every day you can go to the theatre wearing a maids apron and fishnet tights but when going to see The Rocky Horror Show it seems almost compulsory.

Set in the early 1970’s the musical tells the story of Brad and Janet on a
supposedly normal night out.

With the opening song, Science Fiction/Double Feature, being sung by the usherette (Laura Harrison) everyone in the theatre settled down to enjoy the show. The biggest cheer of the evening went to Dom Joly as the Narrator, especially when he not only accepted the heckles from the audience but encouraged it and heckled audience members back.

Joanne Clifton (Strictly Come Dancing) and Ben Adams (A1) work well together as Janet and Brad respectively. Miracle Chance embraces the role of Columbia, whilst Riff Raff is brought to life by Kristian Lavercombe. The stars of the show however are Callum Evans who plays Rocky and Stephen Webb who plays Frank. Evans uses his award winning gymnastic abilities to wow the audience with a series of back flips and somersaults where as Webb channels Tim Curry in
his portrayal of the fabulous Frank N Furter. Although Rose Chisari is wonderful as Eddie, his portrayal of Dr. Scott is not as powerful and his accent got a bit lost in some places.

Although the set is simple it works. One moment you are in the great hall with Webb singing Sweet Transvestite and the next you are in the lab watching Chisari making his entrance, all with a twist of a wall. The costumes are simple, with many audience members recreating them, but they help to give the characters personalities.

The on stage band, led by George Carter, are fantastic and really get the character and audience singing and dancing along, especially with the Time Warp.

All in all a brilliant production which does Richard O’Brien proud and will have audiences flocking to see it for years to come.

DENISE VAN OUTEN & KATHARINE MCPHEE WILL HOST THE FIRST EVER

CAST ALBUM KARAOKE NIGHT ON 19 FEBRUARY

Music and lyrics by seven-time Grammy Award-nominee Sara Bareilles
Book by Jessie Nelson
Based upon the motion picture written by Adrienne Shelly
Directed by Tony Award-winner Diane Paulus

The hosts of the first ever Waitress London Cast Album Karaoke Night have been announced today. Smash star Katharine McPhee, who plays Jenna in the West End production, will host the post-show event alongside Denise Van Outen on Tuesday 19 February. Audience members can sign up before the show for the chance to sing one minute of any song from Waitress – live on stage at the Adelphi and accompanied by the show’s musical director Katharine Woolley.

Further details, including the host, for the next Cast Album Karaoke night on Monday 18 March will be announced next month.

It has also recently been announced that due to popular demand Waitress has extended its booking period to 19 October. Preview performances for the Tony-nominated musical by Sara Bareillesbegan on 8 February ahead of the show’s official opening night on 7 March. A limited number of day seats are now available to purchase in person from the theatre box office for £25 (from 10am, Mon-Weds performances only, subject to availability and at the box office’s discretion).

Waitress opened on 24 April 2016 at Broadway’s Brooks Atkinson Theater. Based on the 2007 motion picture written by Adrienne Shelly, Waitress is the first Broadway and West End musical in history to have four women in the four top creative team spots, featuring original music and lyrics by 7-time Grammy®​ ​nominee Sara Bareilles (“Love Song”, “Brave”), a book by acclaimed screenwriterJessie Nelson (​I Am Sam​), direction by Tony Award winner Diane Paulus (​Pippin​, ​Finding Neverland​) and choreography by Lorin Latarro. The production is currently touring the US and has also announced it will have its Australian premiere in 2020 at the Sydney Lyric Theatre.

Waitress stars Katharine McPhee as Jenna, Emmy-nominee Jack McBrayer (30 Rock) as Ogie,Marisha Wallace as Becky, Laura Baldwin as Dawn, Peter Hannah as Earl, David Hunter as Dr. Pomatter and Shaun Prendergast as Old Joe.

The full company includes Kelly Agbowu, Laura Baldwin, Piers Bate, Nicole Raquel Dennis, Michael Hamway, Peter Hannah, David Hunter, Stephen Leask, Jack McBrayer, Chris McGuigan, Katharine McPhee, Olivia Moore, Nathaniel Morrison, Sarah O’Connor, Leanne Pinder, Shaun Prendergast, Charlotte Riby, Marisha Wallace and Mark Willshire.

Meet Jenna, a waitress and expert pie-maker who dreams of a way out of her small town and rocky marriage. Pouring her heart into her pies, she crafts desserts that mirror her topsy-turvy life such as “​The Key (Lime) to Happiness Pie” and “Betrayed By My Eggs Pie.” When a baking contest in a nearby county — and a satisfying run-in with someone new — show Jenna a chance at a fresh start, she must find the courage to seize it. Change is on the menu, as long as Jenna can write her own perfectly personal recipe for happiness.

On its Broadway opening, Waitress was nominated for four Outer Critics’ Circle Awards, including Outstanding New Broadway Musical; two Drama League Award Nominations, including Outstanding Production of a Broadway or Off-Broadway Musical; six Drama Desk Nominations, including Outstanding Musical; and four Tony Award Nominations, including Best Musical.

Kings Theatre, Glasgow – until 16 February 2019

Reviewed by Linda McLaughlan

5*****

Attending the production I was little apprehensive about the show which had been written by Ian and Nick firstly for the radio and then for theatre. The story of William Hone (played by Joseph Prowen and Cruikshank (Played by Peter Losasso) was cleverly portrayed and although I personally found the Act 1 very slow and I found this very mundane at times.Yes there were periods of laughter as Hone a simple book shop owner who produced pamphlets to encourage and demonstrate the peoples right to freedom of speech alongside Cruishank’s which were very comical and took the mickey out of the Satire and Parliament of the time some 200 years ago. These pamphlets and publications led to the Hone being incarcerated and put on trial for blasphemy and seditious libel by the Regency government.

The production follows the 3 trials that Hone endured over a period of 3 days and how he defended himself and used the court room to justify his thoughts and writings and used jokes and laughter to convince the jury of his innocence. This encouraged audience participation and the laughed and jeered appropriately at the injustice of the trial on display. Act 2 I found to be much more interesting and was able to enjoy the performances of a man’s fight to defend not only his right to freedom of speech but also the right of the people of the country.

Yes it does have a very direct and cynical approach to the frolicking of the Prince of Wales in many cartoons.

At the end of the production we were then invited to stay for a question and answer session with Ian and Nick alongside Dan Mersh who played Lord Ellenborugh, one of the key instigators in bringing Hone’s pamphlets and writings to an end. At the end of the production and Q & A I came away feeling very surprised by how much I enjoyed hearing the story of Hone and Cruikshank and their person battles which still have an impact today.

Hull New Theatre – until 16th February 2019

Reviewed by Catherine McWilliams

4****

I wasn’t sure what to expect when I went to the Hull New Theatre to see The Worst Witch, what I saw was a fabulous fun filled show suitable for everyone, it certainly brought out my inner child! I love any show that leaves me smiling and The Worst Witch left me with a huge grin on my face at the end of the evening.

Emma Reeves has skillfully adapted The Worst Witch books of Jill Murphy into a spellbinding theatre experience, a vibrant magical show. Jill Murphy’s books long being a favourite for children, the first book being published in 1974 (well predating another magical series!).

Miss Cackle’s Academy for Witches arrived at Hull New Theatre last night to perform their school production, written by one of their students Mildred Hubble (Dannielle Bird). The play within the play follows the unexpected arrival of Mildred at the Academy, she is not from a family of witches and finds it hard to fit in and she is also bullied by Ethel (Rosie Abraham). Of course there is a baddy in the mix in the form of Miss Cackle’s evil twin sister Agatha (Polly Lister), suffice to say good wins over with help from Mildred, but it would be a shame to spoil the surprises along the way by giving away any more of the story.

From the start this production provided fun and laughter, mixing in music and dancing and a good deal of mayhem, usually provided by our heroine Mildred. Oh and I must not forget to mention the very clever cat puppets belonging to the students. The set was simple but very effective and clever lighting helped provide some very spooky moments.

The cast are outstanding, this is a production for children but it is thoroughly professional and not dumbed down or childish. This is full of fun, the cast clearly enjoy the performance and the adults in the audience loved it as much as the youngsters.

Danielle Bird gave us a perfect gangly, accident prone Mildred, she was totally believable full of good humour and always seeing the good in everyone. Her off beat dancing and falls were superb and the broomstick display with her friend Maud (Rebecca Killick) was outstanding and had me gasping at times. I can’t have been the only one in the audience wanting her to be my friend! Oh, and she was just like I imagined her to be when I read the books.

Rebecca Killick (Maud) and Consuela Rolle (Enid) were the perfect foils as Mildred’s best friends, as Maud provided the steadiness and Enid the naughtiness.

Rosie Abraham was a superb Ethel and had us hating her very quickly as she sneered at Mildred and tried to get her sent home. Her delivery was excellent and the body language added beautifully to her nastiness.

Polly Lister played Miss Cackle and her evil twin Agatha, slipping between the two characters with ease, her double act a particular highlight of the show.

The music was very cleverly woven into the performance and the musicians Molly-Grace Cutler, Meg Forgan and Megan Leigh Mason were also part of the acting cast, which worked very effectively. It was good to see female musicians on stage too.

According to the school banner this is an academy that is rated fantastical by Ofmag, and fantastical is what we got last night. From the start we were all spellbound, drawn into the magic and mayhem, the adults as entranced as the children. This is a fabulous feel good production for all the family, so get your broomsticks out and fly to the theatre to catch it!

Viviana Durante Company brings a brand-new adaptation of Kenneth MacMillan’s Seven Deadly Sins to Wilton’s Music Hall

·       World premiere re-staging of Brecht/Weill’s ballet chanté, directed by prima ballerina Viviana Durante and developed in association with Deborah MacMillan

·       Starring ‘dazzlingly multi-talented performer’ (The Age) Meow Meow and Royal Ballet principal Laura Morera

·       Presented by Viviana Durante Company in association with Wilton’s Music Hall

·       Running 8-18 May 2019, Wilton’s Music Hall

Internationally acclaimed ballet legend Viviana Durante will present the world premiere of a brand-new production at Wilton’s Music Hall this May; a re-staging of Sir Kenneth MacMillan’s extraordinary version of Kurt Weill and Bertolt Brecht’s Seven Deadly Sins.

The production stars provocative performer Meow Meow, whose ‘astonishing’ (The Telegraph) voice has seen her acclaimed internationally as one of the world’s great stage performers and Royal Ballet principal Laura Morera whose ‘rare and exquisite musicality’ (Culture Whisper) has been lauded across the ballet world, as the two conflicting sides of Anna, an only daughter who is sent out by her family to make their fortune, making her way through seven American cities. Meow Meow portrays the singing Anna, the pragmatic bourgeois, while Laura Morera will take on the role of the dancing Anna, an artistic beauty with an open heart.

Anna and her two very different personalities must navigate each city, encountering a deadly sin in each one that stands in the way of her success. The tale follows the internal struggle she faces with each sin, envying those who surrender to them but forced to resist so she can complete her mission.

 A once-in-a-generation revival, Seven Deadly Sins is directed by Viviana Durante and developed in close association with Deborah MacMillan, drawing on extensive research into her late husband Sir Kenneth MacMillan’s three previous versions of the ballet chanté, the last of which was staged for television in 1984. Alongside Meow Meow and Laura Morera, this production will also be brought to life by a cast of 20 singers, dancers and guest Royal Ballet principals, in the visually stunning and intimate surroundings of the oldest working music hall in the world, Wilton’s.

Viviana Durante Company was founded to bring ground-breaking, impactful classical ballet to a diverse audience. Its most recent production was Kenneth MacMillan: Steps Back In Time at the Barbican Pit in spring 2018, which received international acclaim.

Viviana Durante says: ‘I’m proud to restore this remarkable work to the stage, working closely with Deborah MacMillan and the extraordinary Meow Meow, and with Wilton’s to bring ballet to places it doesn’t often reach.’

Stephen Joseph Theatre – 12th February 2018

Reviewed by Sara Garner

4.5****

This is the 2nd national tour of good dog written by Arinze Kene starring Kwaku Mills

good dog is gritty rollercoaster of gritty rollercoaster of an emotional drama of a boy and his journey through teenage years growing up in multi-racial London. The timespan leads up to the unrest in our inner cities which resulted in the 2011 riots in our inner cities in which people acted out of character to regain some control back in their lives.

This 2-hour play introduces us “The Boy” who is tormented at school and neglected at home and his observations and relationships with memorable community figures (Old Man Boateng, Trevor Senior and Junior, Ghandi, Mrs Blackwood) These characters are introduced to us with the use of pre-recorded voice actors, music and stage production whilst simple is effective.

The Boy naively believed that if behave in a good way and is the bigger man good things will come to him as promised.

Kwaku Mills holds and enthrals the audience for 2 hours, you become totally immersed in his observations. His use of slang language and facial expressions draws you into the highs and lows of his life and the frustrations of teenage angst with unexpected humour that the audience easily related too.

The emotions build in the second half to such an extent that the epilogue is almost a relief to one’s emotional well being

The acting throughout this brilliant play is outstanding and exhausting to watch.

Kwaku received a justly deserved standing ovation at the end.

I cannot recommend this play highly enough.