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Bristol Hippodrome – until 28 April.

Reviewed by Lucy Hitchcock.

5*****

Walking into an auditorium to be confronted with a giant “Ceefax” page isn’t normal, but this is Take That!

“The Band” written by Tim Firth is artistic brilliance. It features the timeless and uplifting music of Take That, mixed with the heart wrenching lives of five young girls. These girls desperately want to see their favourite band, finally winning tickets to do so. Unfortunately, the night ends with a drastic turn which left no dry eye in the theatre. 25 years on, they have all gone their separate ways, but one of them wins tickets to see the band once more. All of them go, and the night ensues in chaos, hilarity and wit that will leave you wanting more.

All the characters are so beautifully written and are extremely relatable. Young Rachel, played by Faye Christall, was every teenage girl in the desperately in love with her favourite boyband! Her best friends are also in love with this boyband, but Rachel is clearly the main focus and wants to go this concert more than anyone. Her friend Debbie, played by Rachelle Deidericks, was the epitome of grace. With a smaller role that the rest, she surely made a lasting impression. Heather, played by Katy Clayton, was a breath of fresh air and had me in stitches! Her comedic timing was excellent and she was fabulous! Zoe, played by Lauren Jacobs, is the more timid member of this group. She is brainy and wants to study at university, but still finds time to watch Top of the Pops to swoon over the boys! Claire is played by Sarah Kate Howarth and is hilarious. Paired with Heather, they had the audience in stitches. The back and forth banter between all 5 of these girls was true to life and showed how strong of a bond they had both on and offstage.

Older Rachel, 25 years on, is played by Rachel Lumberg. She is the only one of the older ladies we are introduced to from the start and she kept the audience in her hands the whole way through. She showed such deep emotion that I felt myself wanting to go and hug her! Older Heather, portrayed by Emily Joyce, was outstanding. Her life changes vastly from her plans made as a teen, but she is still as quick witted and ready to face everything with a smile. Older Zoe, played by Jayne McKenna, was brilliant.

Dubbed as ‘Mother Earth’ when the girls meet up again, her life also didn’t go to plan but yet she was so happy it didn’t! Older Claire, played by Alison Fitzjohn, has the most remarkable change out of all of the girls. From the slim diver she once was, she is now a larger woman who laughs at herself with her friends but still has the undertone of a vulnerable 16 year old.

All of these woman and girls are excellent and their voices blend beautifully, to create some incredible harmonies. The boys of the high-profile tv show ‘Let it Shine’ were fantastic. Watching them was almost like being in a concert. During one of the songs, we were treated to fire flares which left the audience cheering and I’m sure I heard someone shout ‘I love you’!! The energy they showed onstage was electric and for many of the songs the audience were clapping along and dancing. It was almost as if the audience were a character in their own right, we were encouraged to join in from the start.

The choreography, set and costume, together with the talent of all the cast, were all beautifully executed to create a wonderfully emotive piece of theatre. The use of projection was also prominent in the show and was delivered brilliantly to provide smooth scene transitions and to aid the audiences mind during songs, for example “The Flood” was accompanied by a waterfall.

The Band left me with some questions. Was The Band just the concert the girls went to see? Or was The Band really the girls, who after 25 years were still the best of friends- a Band that can never be broken?

Storyhouse Live, Chester – until Saturday 21st April 2018

Reviewed by Julie Noller

5*****

Evita the powerful 1976 musical penned by the gods themselves, Sir Tim Rice and Lord Andrew Lloyd Webber has rolled into Chester bringing with it just a touch of star quality. I like many in the audience I’m sure have seen Evita before but I wanted my teenage daughter to hopefully enjoy what is essentially a history lesson but with quite easily some of the best known stage songs of all time. Plus I have to mention that dress, how it dazzled in the lights, the ultimate prom dress. For yes it was a welcome distraction from revising and exams. It’s fair to say she loved it, I heard many a whispered Wow and although at her age she struggled with some wording, she said she’d understood the story and thought it amazing and totally knows now why I was humming all day, high praise indeed from my teenager. I had previously seen Evita on a large stage where the theatre roof was high and was raised even higher. I wanted to see how it would compare within the smaller setting at Chester. I had no reason to worry, the stage came alive and as I am sure when I see Evita again for this masterpiece of theatre deserves to be seen many times and each as fresh as the first time. Evita as a story itself has so many components, a young girls struggle with rejection, her dreams to become famous; an actress. How she rises like a phoenix from the flames of abject poverty to lead women’s suffrage. Finding a strength like no other and becoming the Queen of the people she understood so well. Juan Peron may have been the political leader of Argentina but his power was ultimately nothing without the woman who guided him and shaped him into a more perceivable believable figure much to the disgust of the upper classes and his generals.

Directed by Producer Bill Kenwright, thankfully we the masses are able to enjoy Evita all over again. Madalena Alberto is magnificent as Eva Durate de Peron. From young fifteen year old looking to escape. Was it by fluke with added luck or was she calculating and manipulative? She brings class and strength to the role with a touch of vulnerability not truly seen. Don’t Cry for me Argentina is of course a highlight, the stage moves even closer to us the audience. We inhale there’s an audible silence because we all know whats about to be leashed on us will be powerful. I have to bend my neck to see Evita clearly and for those few minutes I feel like I’m stood in the crowd seeing the Saint Evita address her people. How incredible to have witnessed history. The emotion of Evita, the cries of Juan Peron are clear for all to see thanks to the small stage and closeness of the audience, it was incredible to see Evita with tears of sadness, her distraught husband. At that moment they connect with us in a way that anyone who has battled that despicable disease cancer will feel. Madalena is tiny she is petite yet nothing could stop her belting out those well known classics, my hairs stood on end, my goosebumps had chills, my mouth may have dropped open. Jeremy Secomb plays the bold and dashing Juan Peron from General to President, I see an actor who knows his character. He knows he has ridden his luck and escaped the death squads. Peron is played with charm and yet a questionable side as if uncertain of his own future. Is it really possible that Evita is the driving force behind his rise? How did Evita keep herself safe in a time where she could quite possibly be committing political suicide and risking her own life too, after all she is merely a woman and from the shirtless classes too! Peron has a ruthless side too though, he plots and allows Evita to speak to the masses, rides on her coat tails. For she is loved and adored by the masses and can do no wrong. Che as usual is our storyteller quite possibly the conscience of the people. He tells things as he sees them and equally brings a touch of eye candy to the stage. Gian Marco Schiaretti quite simply owned the Chester stage, with an unbelievable confidence and aura that lit up the stage and had you watching his every move. You listened to him for the alternative point of view, saw him conflict with Evita. He asked us despite what we saw, just who was this saintly Evita as she had done nothing for years.

Special mention must go to the children from Stagecoach in Chester, for they once again as in Manchester have been incredible and unfortunately we do not know our small child’s name but to stand on stage night after night and sing a solo so well at such a young age is remarkable and what a smile. Young Cristina Hoey as the mistress brings the fickleness and uncertainty of the era alive, this is 1940’s post war Argentina and nothing is guaranteed. She is alone and frightened but a mistresses life is quite often that when faced with the ultimate diva and power crazed Evita.

Evita is truly special, it’s history, it’s storytelling but it’s also power ballads and rock. Can you witness perfection too many times? When it comes to Evita the answer is no

Lyceum Theatre, Sheffield – runs until 21st April 2018.

Reviewed by Sophie Dodworth

3***

Art was originally written in French by Yasmina Reza, a Russian/Iranian/Hungarian/Jewish playwright from Paris. This couldn’t be further away from the solid British feel you are left with after seeing this piece. The play was translated by Christopher Hampson after he came across it playing in the Champs Elysee Theatre. He wanted to buy the rights to the play but after investigation found out that Sean Connery actually owned them. Finally getting in touch with Connery, he agreed to hire Christopher to do the translation. 1996 was the first performance in the West Ends’ Wyndhams. The production has been going strong now for over twenty years and still proves very popular.

This tour of Art has three very accomplished actors on board in the form of Nigel Havers, Denis Lawson and Stephen Tompkinson. These three all have extremely lengthy experience and are super talented. Their talents and abilities of strong acting skills and charismatic energy are key as this show doesn’t have much more to offer visually. The stage is set in plain décor, with three chairs and a table for the entire performance, with only the use of lighting to change the mood intermittently.

The story is about three, close, life-long friends; Marc, Serge and Yvan. When Serge pays £200,000 for a white painting, Marc does not approve, calling it a ‘piece of white s**t’ and accuses Serge of wasting his money. Yvan, tries to be more positive about the painting, which in turn aggravates Marc who appears to have a ‘hang up’ about it. The painting acts as a catalyst to an argument which threatens to get out of control and destroy their friendship. The piece of Art is on stage for a lot of the one act, ninety minute play but the true focus is on the relationship between the trio. There is almost a childlike argumentative edge to these three and that is well portrayed by the actors. There are comedy moments in every corner of this play, leaving the audience in stitches.

A real stand out moment is Stephen Tompkinsons’ extra long monologue. He goes on a real rant about his mothers, stepmothers and all the other people involved in the planning of his wedding. This performance is impeccable and he manages to deliver it at such a speed that you are tense for him, hoping he doesn’t slip up. All perfectly executed though.

If you are a fan of comedy drama and not one that needs visually stimulating during performance then this may be the show for you. The acting is super professional, polished and believable. The story is well written and most importantly it leaves you thinking about friendship and how there is nothing else quite like it.

Yvonne Arnaud Theatre – until 21 April 2018

Reviewed by Heather Chalkley

5*****

Matthew Spangler’s adaptation of the book allowed this phenomenally talented company to weave a clear and intricate story line. The complex relationship between father and son was centre stage, against the back drop of an evolving Afghanistan radicalisation and melting pot of American multiculturalism.

Hanif Khan welcomed us into the opening night with his adept tabla playing, setting the tone and fast pace from the start. Taal rhythms were used to accentuate key moments throughout the play.

Barney George’s cleverly devised staging, using fan like sails as projection screens, gave the illusion of open space and freedom; safe, secluded Kabul gardens; comfortable western homes and Afghani dark alleys. The stage was stripped back, with no distractions, focusing attention intensely on the cast.

Raj Ghatak as Amir, the narrator and main character, held your attention, delivering a range of emotions in carefully orchestrated measures. He evoked empathy, sympathy, disgust, joy and heartache from his audience, earning long and loud applause.

Jo Ben Ayed gave a beautiful portrayal firstly of Hassan, Kite Runner and the humble servant child, immediately conveying the unconditional love for Amir his childhood friend and servant. Then as the son and nephew Sohrab: broken, vulnerable and desperate.

Soroosh Lavasini  as Assef gave a compelling performance, mixing the playground bully with ingrained xenophobia into a toxic cocktail that was verging on madness. The fear of the Taliban was real and present through his character.

Director Giles Croft and his team crafted fluidity and unity into the production. The Company was like poetry in motion, moving props and providing sound effects naturally like it was an everyday occurrence. The use of Tibetan Singing Bowls to increase tension and Schwirrbogen to replicate soaring winds was inspired. In the more disturbing scenes he gave just enough for you to know what is happening and to apply your own imagination.

This not a play for the faint-hearted. I am sure the author Khaled Hosseini himself would be totally absorbed once again by his own story. It brings the book to life in a way that delivers human love and sacrifice right into your lap. I thoroughly recommend it for those who are not afraid to experience and share a whirlwind of emotions with fellow watchers.

SAVOY THEATRE – 15 APRIL & 20 MAY 2018. 

Reviewed by Sharon Hinds Kennedy

4****

 

This is a play with a difference, on entering the theatre you are handed a piece on paper which looks like the front cover of a Jane Austen book. There is no title on the front cover, just a speech bubble to enter your own suggested title for a lost Jane Austen novel.

The show opens with one of the cast asking the audience to lift hands to shout out their suggested titles for the lost book. A title is then chosen from the audience’s suggestions by the cast member on stage. The show then swings into action. The title of this particular performance was “The Good, The Bad and the Darcy”.

This was a very funny performance, all the cast are improvisation actors and comedians. It was apparently unscripted but at times parts did seem rehearsed. However, cast members did freeze about what to say next from time to time.

The audience was about 70% female, this fact was pointed out to me by my husband. Like Austen’s books this show is probably more attractive to women. The actors appeared to enjoy the performance as much as we the audience.

The cast drew us into their imaginary improvisation through their use of one simple set, period costumes and the live music that played throughout the performance. The music was provided by two musicians, a violinist and a pianist.

We thoroughly enjoyed this show and award it ⭐⭐⭐⭐

Joshua Andrews and Adam Spiegel present

Kay Mellor’s
Fat Friends – The Musical

First look at Elaine C Smith in Kay Mellor’s Fat Friends – The Musical opening in Edinburgh this week

Elaine C Smith is one of Scotland’s best-known entertainers and will be taking on the role of Betty in Fat Friends – The Musical, written and directed by Kay Mellor OBE with original music by Nick Lloyd Webber. Now audiences have the chance to get a first look at Elaine C Smith ahead of the production opening at Edinburgh’s Playhouse on Thursday 19th April.

Musical fans in Edinburgh, Glasgow and Aberdeen are in for a treat with Fat Friends the Musicalas it opens the Scottish leg of its tour in Edinburgh (19 April – 21 Apirl), before travelling to King’s Theatre in Glasgow (30 April – 5 May) and His Majesty’s Theatre in Aberdeen (21-26 May).

Full dates and tickets are available at www.fatfriendsthemusical.com. Tickets for the Edinburgh performances available here.

For over 30 years Elaine C Smith has worked extensively in radio, television, film and theatre. She is perhaps best known for her enduring portrayal of Mary Nesbitt in the ten series of the BBC2 hit sitcom Rab C Nesbitt. also starred as Christine in the BBC 2 show Two Doors Down and Burdz Eye View for STV which drew huge audiences and won Elaine an RTS Award for On Screen Personality.

The ‘weight’ is over; Packed full of warmth, life and weight loss, this brand-new stage show reunites our favourite foodie friends in an original musical bulging with hopes, humour and heart. Join the infamous group of loveable characters as they are put through their Zumba paces at their local branch of Super Slimmer’s by the lovelorn Lauren whilst Kelly fantasises about fitting into the wedding dress of her dreams. Fat Friends offers a generous serving of hilarious fun with a sprinkle of romance on top!

 

Fat Friends hit television screens in October 2000, following the lives of a group of overweight friends as they struggle with the absurdities of modern dieting. Entertaining millions of viewers for five years on ITV, the show starred Alison Steadman, Gaynor Faye and Lisa Riley and launched the careers of James Corden and Ruth Jones. Written by Kay Mellor, the show was nominated for multiple awards including the BAFTA for Best Drama Series

 

LISTINGS

Joshua Andrews and Adam Spiegel present

Fat Friends – The Musical

By Kay Mellor

 

Director: Kay Mellor

Music by Nicholas Lloyd Webber

Musical Supervisor, Orchestrations and Arrangements: Simon Lee

Set and Costume Design: Bretta Gerecke

Sound Design by Gareth Owen

Lighting Design by Nick Richings

 

Thu 19 – Sun 21 Apr

EDINBURGH Playhouse / 0844 871 3014 / tickets here.

 

Mon 30 Apr – Sat 5 May

GLASGOW King’s Theatre / 0844 871 7648 / tickets here.

 

Mon 21 – Sat 26 May

ABERDEEN His Majesty’s Theatre / 01224 641122 / tickets here.

Sensational Summer Season unveiled at Hull Theatres

From dinosaurs to ducklings, dance to drama, live music and musicals to comedians and comedy drama, it’s all going on at Hull New Theatre and Hull City Hall this summer.

The appearance of the sun heralds the start of the long-awaited warmer months as well as the arrival of Hull Theatres’ sensational summer programme bursting with top-quality entertainment for all.

David Walliams’ Awful Auntie (17-20 May) raises the curtain on Hull New Theatre’s energetic family programme that also includes the award-winning Gangsta Granny (5-8 July), Bing Live! (21 & 22 July), Dinosaur World Live (9-11 August) and Peppa Pig (1 & 2 September).

Dance aficionados will be delighted by their options; balletLORENT’s contemporary re-telling of Grimm’s fairytale Rumpelstiltskin, retold by Poet Laureate Carol Ann Duffy with music by Dr Who composer Murray Gold (10 & 11 May). Plus, Strictly Come Dancing’s Aljaz and Janette’s tribute to the inimitable Fred Astaire – Remembering Fred (12 May),as well as the award-winning Northern Ballet’s breath-taking children’s ballet, Ugly Duckling back in the spotlight for the first time since 2013 (14 May).

There’s plenty to laugh about too as the multi award-winning The Play That Goes Wrong (21-26 May) stops off at Hull New Theatre on a nationwide tour, while Joe Pasquale recreates the lovable accident-prone Frank Spencer in Some Mothers Do ‘Ave ‘Em (26-30 June) and John Godber continues the King family saga in Long Live The Kings of Hull (5-15 September). The laughter continues at Hull City Hall with a fantastic line-up of comics including stand-ups Brian Conley (23 May), Jason Manford (13 June) and Chris Ramsey (29 June).

The world-class roster of entertainment continues into the music programme which boasts monthly organ recitals and afternoon tea dances alongside Shalamar (3 May), Shane Filan (4 May), Frank Turner (8 May), The Waterboys (10 May), Opera North’s Salome (16 May), the Halle Orchestra (24 May), A Country Night in Nashville (22 June), Summer Proms (26 & 28 June), the Black Dyke Band (30 June), Jools Holland (1 July) and Showaddywaddy (7 July). As well as a spectacular concert featuring the music of The Beatles in Let It Be (24-29 September).

And of course there’s an enviable selection of Musicals too. Mamma Mia make its Hull debut in May to a sold out audience plus, there’s a chance to catch the acclaimed Cilla the Musical – a moving adaptation of Jeff Pope’s BAFTA award-winning TV series Cilla (18-22 September).

For details of all the shows at Hull New Theatre and Hull City Hall this summer, pick up a copy of the new brochure out this week. Tickets for all shows are on sale now. Book via the Hull City Hall Box Office, call 01482 300 306 or visit our new website www.hulltheatres.co.uk.

Cast announced for H.R.Haitch
A right royal musical comedy!
Union Theatre, 204 Union Street, London SE1 0LX
Wednesday 9th May – Saturday 2nd June 2018

Christian James (The Commitments, UK Tour; NewsRevue, Canal Café Theatre; Princess Caraboo, Finborough Theatre), Emily Jane Kerr (Tomorrow, Maybe, Union Theatre; What Is Love?, Southwark Playhouse; NewsRevue, Canal Café Theatre), Andrea Miller (Billy Elliot, UK and Ireland Tour; Pass The Porter, The Spa Bridlington; Fables and Fairytales, The Spa Bridlington), Christopher Lyne (Romeo and Juliet, Wilde Theatre; Robin Hood The Pantomime, Peepul Centre;
The Hired Man, Union Theatre) and Prince Plockey (Future Voices, Southwark Playhouse; You Forgot The Mince, Edinburgh Fringe 2017 and UK Tour; Tis Pity She’s A Whore, Tristan Bates Theatre) will join Tori Allen-Martin in H.R.Haitch – a hilarious and charming new musical for princesses and paupers alike

Featuring original music composed by Luke Bateman (Mr. Poppers Penguins) and lyrics written by children’s author and Carnegie Medal nominee Maz Evans, this freshly re-imagined full length production has been commissioned by Iris Theatre’s Workin Process scheme following a highly successful concert version. First written in 2015, this show began as a piece of pure fiction but it now pertinently reflects the current excitement surrounding the royal family and this
year’s royal wedding

Directed by Daniel Winder, H.R.Haitch is a 21st century British satirical production about class, celebrity, patriotism, politics, race and a dash of social values. Set in an East London pub under the threat of closure, H.R.Haitch follows the family of the Dog & Duck as they are thrust into the limelight when their love-struck daughter Chelsea discovers a sudden unexpected connection to the Royal Family

It’s 2011 and feisty east ender Chelsea’s future is bright. She has a new man and there’s a new progressive Prime Minister to light the days ahead. The media can stick their obsession with the identity of Prince Albert – the secret royal who’s been in hiding for 20 years. However, Bertie has something big to tell Chelsea. He’s down on one knee, but it’s not a ring he has in store… it’s a crown. And Chelsea will soon discover that travelling from Barking to Buckingham Palace takes more than a topped-up Oyster Card…

Daniel Winder comments, H.R.Haitch is a timely musical – we commissioned Luke and Maz in 2015 to write this show, never imagining that we’d so quickly see a royal marrying someone who didn’t fit the traditional rich, white, British mould. While this most definitely isn’t a show about Meghan Markle and Prince Harry, we’re delighted the Union has let us put the show on to coincide with their wedding. We’re thrilled to have Tori Allen-Martin back in the role of Chelsea,
alongside a team of young and veteran actors – including our prince-in-hiding Christian, who will make the perfect hapless royal

Title H.R.Haitch
Performance Dates Wednesday 9th May – Saturday 2nd June 2018
Tuesday to Sunday, 7.30pm
Sunday matinees (20th and 27th May), 2.30pm
Running time tbc
Age recommendation 13+
Location Union Theatre, 204 Union Street, London SE1 0LX
www.uniontheatre.biz
How to get there The nearest underground stations are Southwark (on the Jubilee line) or London Bridge (on the Jubilee line and Northern line). The nearest rail station is Waterloo or London Bridge. Parking is available on Union
Street after 6.30pm on weekdays and all day on weekends.
Twitter @ShrapnelTheatre, @Iristheatre, #HRHaitch
Box Office Tickets are available from the Union Theatre Box Office and
www.uniontheatre.biz or 020 7261 9876 priced £15 – £22.50.

FULL CAST ANNOUNCED AS REHEARSALS BEGIN FOR

THE NATIONAL THEATRE AND SONIA FRIEDMAN PRODUCTIONS’

WEST END TRANSFER OF

C O N S E N T

Today (16 April 2018), rehearsals begin for the West End production of Nina Raine’s Consent which will begin previews at the Harold Pinter Theatre on 18 May with its opening night on 29 May 2018.  Directed by Roger Michell and originally co-produced and commissioned by Out of Joint, this strictly limited 12-week run is booking through to 11 August 2018 following the 2017 critically acclaimed sell-out run at the National Theatre.  A series of accompanying pre-show talks and discussions exploring ideas of justice, consent, marriage and modern parenthood will be announced at a later date

Clare Foster, Lee Ingleby and Thusitha Jayasundera join the previously announced cast comprising Claudie Blakley, Stephen Campbell Moore, Heather Craney and Adam James. Consent has set by Hildegard Bechtler, costumes by Dinah Collin, lighting by Rick Fisher, music by Kate Whitley, sound by John Leonard and Sarah Weltman with casting by Amy Ball CDG.

Why is Justice blind? Is she impartial? Or is she blinkered?  Friends take opposing briefs in a contentious legal case. The key witness is a woman whose life seems a world away from theirs. At home, their own lives begin to unravel as every version of the truth is challenged.  This ‘tense, entertaining modern-day tragi-comedy’ (Daily Telegraph) takes a searing look at the law whilst putting modern relationships into the dock.

Claudie Blakley’s (Kitty) theatre credits include Once in a Lifetime for the Young Vic, The Painkillerat the Garrick Theatre, Chimerica for the Almeida Theatre and the Harold Pinter Theatre, Rules for Living, The Cherry Orchard, Comedy of Errors, Attempts on Her Life and Rosencrantz & Guildernstern are Dead for the National Theatre, Macbeth and Lear for the Sheffield Crucible, Di and Viv and Rose and The Good Samaritan for the Hampstead Theatre, Love and Money for the Young Vic and Royal Exchange, All’s Well That Ends Well for the Royal Shakespeare Company, Kosher Harry for the Royal Court, The Lady from the Sea for the Almeida Theatre and Billy & the Crab for Soho Theatre. Her television credits include Grantchester, Silent Witness, The Driver, What Remains, The Night Watch, New Tricks, Nativity, Blue Geranium, Lark Rise to Candleford, Cranford Chronicles, Fallen Angel, Fear of Fanny, Vital Signs, Dirty Filthy Love and Inspector Lynley Mysteries. Her film credits include Bright Star, London to Brighton, Severance, Pride and Prejudice, Gosford Park and The Cat’s Meow.

Stephen Campbell Moore’s (Edward) theatre credits include Photograph 51 at the Noël Coward Theatre, Chimerica for the Almeida and the Harold Pinter Theatre, Berenice for the Donmar Warehouse, Clybourne Park in the Wyndham’s Theatre, All My Sons at the Apollo Theatre, The History Boys for the National Theatre and on Broadway, Much Ado About Nothing and Antony and Cleopatra both for the Royal Shakespeare Company, A Midsummer Night’s Dream at The Albery,Richard II and Coriolanus for the Almeida Theatre. His film credits include Goodbye Christopher Robin, How To Talk To Girls At Parties, The Lady in the Van, The Ones Below, Burnt, Moonwalkers,Man Up, Complicit, Johnny English Reborn, Season of the Witch, Sea Wolf, The Children, The Bank Job, Amazing Grace, The History Boys, A Good Woman and Bright Young Things. His television credits include The Child in Time, The Last Post, Stag, The Wrong Mans, The Go Between, Our Zoo,Hunted, Just Henry, Titanic, Sleepyhead, Pulse, Ben Hur, Lark Rise to Candleford, A Short Stay in Switzerland, Ashes to Ashes, Rough Crossings, Hustle, Wallis and Edward, He Knew He Was Rightand Byron.

 

Heather Craney (Gayle and Laura) originated the roles of Gayle and Laura in Consent for the National Theatre. Her other theatre credits includeThe Vote and Passion Play both for the Donmar Warehouse, Made in Dagenham at the Adelphi Theatre, Handbagged, Pink and You Me & Wii all for the Tricycle Theatre, I Like Mine with a Kiss at the Bush Theatre, Joe Guy at Soho Theatre, Sugar Mummies and Stoning Mary both for the Royal Court. For film, her recent credits include Child 44,Dangerous Parking, Mark of Cain and Vera Drake which earned her a BAFTA Award nomination for Best Supporting Actress. On television her credits include Line of Duty, Life of Riley, Torchwood, In the Dark, Ahead of the Class, Holby City, Doctors, Silent Witness and Eastenders.

 

Clare Foster’s (Zara) theatre credits include Travesties at Menier Chocolate Factory and Apollo Theatre, Guys & Dolls, Master and Margarita and Out of This World all for Chichester Festival Theatre, Merrily We Roll Along at Menier Chocolate Factory and Harold Pinter Theatre, Separation, Duet for One, Love On The Dole and A Streetcar Named Desire all at Bolton Octagon Theatre, Crazy for You at Regent’s Park Open Air Theatre and Novello Theatre, The Lion, The Witch and The Wardrobe at the West Yorkshire Playhouse, Avenue Q at the Noel Coward Theatre, The Far Pavilionsat the Shaftesbury Theatre, Sweet Charity at Sheffield Crucible and We Will Rock You at the Dominion Theatre.  Her recent film and television credits include Holmes and Watson, Les Miserables, Black Forest, Dark Heart, Sherlock, Taboo, Galavant, Ripper Street and The Crown.

Lee Ingleby’s (Tim) theatre credits include Our Class and The Pillowman both at the National Theatre, Furnace Four and Shoreditch Madonna both at Soho Theatre, Cressida at the Almeida Theatre, Drink, Dance, Laugh and Lie at the Bush Theatre, A Midsummer Night’s Dream at The Albery, Dreaming at the Royal Exchange and About the Boy at The Royal Court. His extensive work in television includes The A Word, Line of Duty, Inspector George Gently, Nature Boy, White Heat, The Street, Luther, Our Zoo and The Five as well as the ITV series Innocent and Netflix mini-series adaptation of Watership Down. His work in film includes Master and Commander, Harry Potter and the Prisoner of Azkaban and Ever After: A Cinderella Story.

Adam James (Jake) is an award-winning actor who has worked extensively on stage and screen. Most recently seen in Girl from the North Country at the Noël Coward Theatre, Adam originated the role of Jake in Consent for the National Theatre, where his previous credits have included 13, Gethsemane and Blood and Gifts. He is recognisable on screen for his roles in Dr Foster, King Charles III, The Crimson Field, Hustle and Extras amongst others. Other theatre credits include An Enemy of the People for Chichester Festival Theatre, Bull for the Young Vic, Now or Later and My Child both for the Royal Court and King Charles III at the Almeida Theatre. His film credits include The Kill Team, Johnny English III, Hunter Killer, A Little Chaos, Last Chance Harvey, Mother of Tears and Road To Guantanamo. His more recent television credits include Home From Home, Eric, Ernie and Me, Endeavour, Grantchester and Coalition.

 

Thusitha Jayasundera (Rachel) was most recently seen in The Divide at The Old Vic and King’s Theatre Edinburgh, and has previously appeared in Nina Raine’s Tiger Country at Hampstead Theatre. Her other theatre credits include My Eyes Went Dark at Finborough and Traverse Theatre,Behind the Beautiful Forevers, Crime and Punishment, War Horse and The Caucasian Chalk Circle for the National Theatre, The Vertical Hour for the Park Theatre and The Comedy of Errors, Cain, Peer Gynt and Pentecost for the Royal Shakespeare Company. Her extensive work in television includesMidsomer Murders, Doctor Foster, Humans, The Foreigner, Broadchurch, The C Word and Lewis.

 

Nina Raine’s other plays include Tiger Country, Rabbit and Tribes as well as an adaptation of The Drunks by the Durnenkov Brothers.  She was shortlisted for the 2004 Verity Bargate Award and awarded the 2006 Evening Standard and Critics’ Circle Awards for Most Promising Playwright for her debut play Rabbit.  Tribes won the Drama Desk Award for Outstanding Play, the New York Drama Critics’ Circle Award for Best Foreign Play and the Off-Broadway Alliance Award for Best New Play and has been performed in eighteen different countries. Nina was nominated for a Susan Blackburn Smith Award for Consent.

Roger Michell’s many productions include Waste, Landscape with Weapon, Honour, Blue/Orange, Under Milk Wood, The Homecoming and The Coup all for the National Theatre, Farewell to the Theatre and Some Sunny Day both for Hampstead Theatre, Rope for the Almeida Theatre, Tribesand Birthday both for the Royal Court, Betrayal, Old Times and My Night with Reg for the Donmar Warehouse, the latter transferring to the Apollo Theatre in the West End. Michell’s film credits include My Cousin Rachel, Le Week-End, Hyde Park on Hudson, Morning Glory, Venus, Enduring Love, The Mother, Changing Lanes, Persuasion, My Night With Reg, Titanic Town and Notting Hill.  On television his credits include The Buddha of Suburbia, Downtown Lagos, The Lost Honour of Christopher Jeffries, Birthday, Ready When You Are, Mr Patel and Michael Redgrave – My Father.

 

LISTINGS INFORMATION

Theatre:                           Harold Pinter Theatre, Panton St, London SW1Y 4DN

Dates:                              18 May – 11 August 2018

Running time:                    Approximately 2 hours 20 minutes including a 20 minute interval

Box Office:                         ATG Tickets 0844 871 7622

National Theatre 020 7452 3000

Performances:                    Monday – Saturday at 7.30pm, Wednesday and Saturday at 2.30pm

Age Guidance:                    15+

Prices:                              From £15

Website:                           www.consentwestend.com

Twitter:                           @consentwestend

Facebook:                         @consentwestend

Cafe Society Swing

 

Cafe Society Swing comes to Theatre Royal Stratford East

 

Boasting a stellar international cast, this acclaimed show tells the story of the first racially-desegregated jazz club in New York – Cafe Society, which opened in Greenwich Village 80 years ago, in December 1938. It will play the historic Theatre Royal Stratford East from Tuesday 5 June to Saturday 16 June.

 

Full of swinging jazz, blues, gospel and bebop, Cafe Society Swing stars vocalists China Moses, Vimala Rowe and Ciyo Brown and making her London stage debut Judi Jackson, with an eight-piece band directed by the show’s author, pianist Alex Webb.

 

From 1938 to 1949 Cafe Society played host to some of the finest musical talent of the 20th century, including Billie Holiday, Lena Horne, Sarah Vaughan and Count Basie. Billie Holiday was one of the first headliners at the club and it was at Cafe Society that club owner Barney Josephson presented her with the classic protest lyric Strange Fruit – which became her signature song.

 

Cafe Society Swing follows the venue’s thrilling struggles and triumphs to its eventual demise in America’s ‘Red Scare’ of the late 1940s.  On its New York run in 2014 the New York Times called it ‘a balm for the soul’ and gave it a ‘Critic’s Pick’. UK reviews have been just as favourable: ‘Fabulous’ – Financial Times (****), ‘A genuine treat’ – The Times (****), ‘An eight-piece band worthy of any West End stage’ –  London Evening Standard (***), ‘Brilliantly conceived theatrical cabaret’ – TheArtsDesk.com.

 

The show features the Cafe Society All Stars – an eight-piece band consisting the cream of UK jazz musicians, led by Alex Webb (piano, MD) with Dave Bitelli (tenor sax), Tony Kofi (alto), Nathaniel Cross (trombone), Sue Richardson (trumpet), Ciyo Brown (guitar), Miles Danso (bass) and Andy Chapman (drums).

Theatre Royal Stratford East

Listings

Gerry Raffles Square, London E15 1BN

5 – 16 June

Tue – Sat 7.30pm, Sat 2.30pm

Tickets: From £10

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