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DATES ANNOUNCED FOR THE UK TOUR
OF THE INTERNATIONAL SMASH HIT MUSICAL
“THE BODYGUARD”

Producers, Michael Harrison and David Ian are delighted to announce the international smash hit production of the award-winning musical THE BODYGUARD will play The Bristol Hippodrome from 26 March – 6 April 2019. Tickets now on sale.

Based on Lawrence Kasdan’s 1992 Oscar nominated Warner Bros. movie starring Whitney Houston and Kevin Costner, THE BODYGUARD, directed by Thea Sharrock with book by Oscar winning (Birdman) Alex Dinelaris, had its world premiere at the Adelphi Theatre in London’s West End in 2012 and was nominated for four Olivier Awards. A sell out 18 month UK and Ireland tour followed, before the show returned to the West End at the Dominion Theatre. THE BODYGUARD has also played in the Netherlands, Germany, South Korea, Canada, Italy, Australia and China and can currently be seen in Stuttgart, Madrid and on tour throughout France and the United States.

Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge; what they don’t expect is to fall in love. A romantic thriller,THE BODYGUARD features a host of irresistible classics including Queen of the Night, So Emotional, One Moment in Time, Saving All My Love, I’m Your Baby Tonight, Run to You, I Have Nothing, I Wanna Dance with Somebody and one of the biggest hit songs of all time – I Will Always Love You.

The Bodyguard

The Bristol Hippodrome

Tuesday 26 March – Saturday 6 April 2019

Evenings: Tue – Sat 7.30pm

Matinees: Wed & Sat 2.30pm

www.atgtickets.com/bristol

Blue Elephant Theatre 12 – 13 April

Reviewed by Claire Roderick

4****

The oral tradition of storytelling is alive and well (and in very safe hands) with The Tell Tales.

With the increasing popularity of audible books amongst adults, surely, it’s time for us to rekindle our love of experiencing a story being TOLD, not just read. Personally, I find audible books to be the perfect cure for insomnia, but being able to see a storyteller’s face and body language as they tell their story from memory can energise even the most mundane tale.

In my day job as an Early Years teacher, I have seen many inspiring storytellers, and many more awful ones. Telling a story to an audience is about much more than remembering the words. You need to keep an eye on your audience and adapt the story, adding or cutting as you go along to ensure they are swept along on your narrative journey. This is a lot easier to do with children – they aren’t shy or embarrassed to let you know if they aren’t interested. With adults, it’s a lot trickier to judge, but The Tell Tales are experienced and talented enough to have created a delightful show that will leave adult audiences with a warm and fuzzy feeling.

Unable to have a real campfire around which to tell their stories (flipping Health and Safety!), director Minnie Wilkinson has framed the show around the Maori legend of the origin of fire, with the four storytellers passing around matches to light their candles, with a nod to master storyteller Hans Christian Anderson and the wonderful visions seen by his Little Matchgirl as each match is struck. After this shared story of fire, Diana Redgrave, Paul Andrew, Santiago Del Fosco and Marian Hoddy each share one of their own favourite stories from around the world. The stories are silly, moralistic, funny and uplifting – the sort of material you are expected to outgrow but will always have a special place in your heart. Basically, the sort of stories you’d want to tell your own children but can’t easily find in modern books. Each storyteller has their own individual style and pace, and they are all able to recover quickly from any stumbles in their unscripted stories, using some lovely one-liners to get back to the plot, and all of them allowing, and more importantly acknowledging, the audience’s reactions.

The final story sums up the whole mission of The Tell Tales – that stories are meant to be told, shared and passed on, evolving and growing with every retelling, to young and old alike. The pure simplicity and joy of sharing these stories together is simply wonderful, breathing fresh new life into the tradition of oral storytelling. Here’s hoping we see more of The Tell Tales soon.

York Theatre Royal – until 13th April 2018

Reviewed by Marcus Richardson

3***

York is known for Its active role of community within theatre, with some projects having up to 200 volunteers. Legacy is the latest show to involve members of the community, the show involved the York Theatre Royal Youth group and a range of people over the age of 65, this collaboration is a first for York Theatre Royal. Legacy is a Trillion Pound company that works in advanced technology, but somethings don’t add up and their company ethic is questionable.

The cast made up of all members of the York community, involved the two age groups that normally have distance because of technology and culture, the reason to use the two contrasting groups in this topic was a bold idea, and there was a very strong difference in some of the characters. The large cast which is made up of nearly 40 people, involved a chorus of ‘perfect’ children which have been raised by Legacy. The use of chorus was very impressive with a large group of people working in unison, this created an impactful message about technology how they all worked together, it seemed like they were more machine than human. A few of the younger actors who had characters such as Hannah Brown, Robert Sinkinson and Adam Kane, gave performances that added to the show through the display of character and projection. The older portion of the cast also had a great few actors who showed what the people of York can do, Shirley William who plays one of the main character Simone, took on a large role and delivered complexity and made sure she was heard. Other actors who stood out were Rory Mulvhill and Ian Giles. The only issue I had with the acting of the show is that there were some pacing issues and because of this scenes felt dead.

The Adventurous topic can be very hard to work with as the dystopian genre can be very hard to replicate on stage, during most of the show I was drawn in, but some scenes felt out of place and unnecessary, however that being the complex plot felt like I was watching what could soon become our future, I enjoyed putting together pieces of the puzzle and watching how the play unfolds. The set was very bleak and mirrored the ‘perfect’ aspect of the play, what I did find really interesting was the use of several monitors during some scenes, this use of technology during the performance fitted and made the character of Blackthorne seem like a God compared to the actors on stage.

York had always had a great community when it comes to theatre, and one of the main reasons is because of York Theatre Royal, this was by far the most abstract that they have created, to watch the show you have to think and make yourself aware to the issues. I loved the use of the two polar groups from those under the age of 19 and those above the age of 65, proving that theatre brings people together.

Storyhouse Live, Chester – until Saturday 14th 2018

Reviewed by Julie Noller

***** (5 stars)

Birmingham Stage Company celebrate their 25th Anniversary by bringing a much loved modern childrens classic to life. David Walliams has seen his popularity change in the last ten years from that of comedic actor, to reality judge to global bestselling childrens author. Book sales have exceeded twenty three million with his books translated into fifty three languages, as my daughter commented she can’t think of fifty three languages. In 2011 Gangsta Granny was his fourth book to be published.

I had read Gangsta Granny; sadly my children were more interested in reading books for themselves and so I resorted to sneakily reading once they had finished. I was keen to see if the madcap humor would be transferred from page to stage. Neal Foster has done a sterling job in adapting and directing Gangsta Granny and through his steady hands we see not only the silliness but also the humanity and moral essence that David Walliams hoped children would see. Jacqueline Trousdale brings a quirky and fast moving set alive, there’s spining buildings and beds that cleverly can be hidden away, shop shelves that seam to just appear.

When we think of our Granny, we are as guilty as Ben was. Time spent with Granny can quite often be a chore and boring, with a capital B. Grannys are frail, double layers of cardigans because they are always cold and theres there’s cabbage. Why does it not surprise me that Granny loves cabbage, she smells of cabbage, and we all know what cabbage does to us. We hear the noises, we know everyone who has eaten cabbage farts but the delighted squeals from our younger and not so younger audience members, makes even the most sensible adult giggle. Ben played with brilliant over exageration by Tom Cawte is very nearly 12, he doesn’t want to be little Benny any more, he wants to be a plumber. He unlike any other child I know hates Fridays because Fridays mean cabbage and Granny. Why does he have to go to Grannys? Because Mum, Jenny Gayner who I have to say wow she can certainly kick those legs high and lets not mention the splits, and Dad, Jason Furnival, are massive fans of the glitterball and Strictly Come Dancing. Fridays are dance nights and when Ben telephones them to rescue him from the torture of scrabble with Granny, well he is confronted by the fact Mum is more wrapped up in her life and meeting Flavio the Latin God of the dance floor. Granny pulls at our heart strings and informs Ben that Fridays are the highlight of her week, that she lives for his visits, even if no one else visits her; not even his parents. It is Raj the local shopkeeper a warm and funny Aosaf Afzal who opens Bens eyes to the possibility that Granny may just be someone special. Granny herself is portrayed by the wonderful Louise Bailey and the transformation is amazing. Granny is an extremely comic character and I loved watching Granny’s scooter used as a getaway vehicle, surely we could walk faster?

We all think because our Granny is so old she doesn’t know when we sneak an extra biscuit from the tin. What we don’t realise is Granny sneaks extra biscuits in there every week just for us to sneak. Only what Ben finds in the biscuit tin is a little too shiny for biscuits and as Granny delights comes with lots of elaborate stories. Including little scenarios for us the audience to follow in appropriate Walliams silly fashion. Ben himself starts to come alive and through his enthusiasm Granny finds a love of life. They are undetered by nosy Mr Parker (Jason Furnival) whilst talking jewels, upon his knocking on the door with Ben saying Granny is doing naked Yoga. Poor Granny resorts to attempting yoga in her bloomers, hillarious. Alas Mr Parker fast becomes the pantomime villain and manages plenty of boos. He sticks his nose into everyones business as leader of the local neighbourhood watch with 2 and 2 adding upto 10 for him. Cheers ring out all round as the policemen tell him he should be a better a neighbour and actually do some good for a change. Ben with Granny’s encouragement pays more attention at school, if only to discover insider information on the Tower of London.

But Granny’s message is there nevertheless Ben you can be who ever you want to be, you are intelligent and I love you. Ben believes the stories of his cool Gangsta Granny who is great at rapping – the scene is one of the highlights. He covers for wanting to visit Granny more by telling his delighted parents he wishes to dance, you know it will end badly when they enter him into a competition. The very camp Flavio (Aosaf Afzal) is our compare and his mispronunciation of some pretty basic words has those old enough to understand in the audience howling. Ben wins simply by being the only boy, guaranteed clapping by us the audience. It is not a terribly British play or story involving The Tower of London if we don’t see the Queen, who stops the attempt to steal the Crown Jewels and pardons our two heroes. We also discover Granny was spinning a yarn, the biscuit tin jewels are glass, worthless. The Queen feels empathy for Granny both feel overlooked by their grandchildren. However isn’t it amazing that the Queen loves cabbage soup.

I was concerned how Granny’s demise would transfer to the stage and would it upset young children, I needn’t have worried, it was wonderfully touching and Granny left in her wheelchair waving to Ben. Sadly Granny was no more. We are now at the end of the play. Ben has a new black cat as a pet, a very unrealistic but brilliant puppet who has moving arms and no doubt thumbs. Raj has a newspaper in which it comes to light that an undisclosed amount of priceless jewels were donated to a charity shop. We start to wonder that maybe Granny really was a Gangsta. Finally it’s Christmas Day and 3pm means it’s time for the Queens speech. I heard lots of young gasps as she leaves the television set to lead the cast in a dance. The Moral of Gangsta Granny, just because you’re old doesn’t mean you can’t. We should never forget our Granny’s were young once and they deserve to have fun too. So why not treat your Granny to a fun filled adventure even if that adventure is break dancing with you. Young and old will delight in this tale full of silliness and fun. Take your Granny to see that spending time together isn’t a chore.

West Yorkshire Playhouse, Leeds – until Saturday 21st April 2018

Reviewed By Dawn Smallwood

5*****

Ramps on the Moon work in partnership with six National Portfolio Organisation theatres which include the West Yorkshire Playhouse and they produce touring shows. Ramps on the Moon take pride with integrating deaf, disabled and non-disabled performers in their joint productions including this current production, Our Country’s Good. Our Country’s Good on this occasion is directed by Fiona Buffini from the Nottingham Playhouse and is visiting the six theatres on its tour.

Timberlake Wertenbaker’s Our Country’s Good, written in 1988, is based on a true story about the lives of both the transported convicts and officers in Australia’s first penal colony. In the story the convicts rehearse and perform George Farquhar’s The Recruiting Officer – the first ever theatre production done in Australia. This production is adapted from the Thomas Keneally’s novel, The Playmaker.

The Colony and the penal system were set at a time where the Georgian literally classed criminals and they were condemned for rest of their lives. In some cases it is alleged that some of the convicts were wrongly committed and some characters in the play reveal such injustices particularly with Liz Morden (Ghemisola Ikumelo).

Buffini follows Wertenbaker’s footsteps to use Our Country’s Good as grounds that people can change and be more so especially being offered a role in the play. The convicts in the play think they that they are nothing else but a convict however they learn that humanity allows them to look at themselves more openly. The officers also learn to have empathy and openness with them and this is especially the case with Second Lieutenant Ralph Clark (Tim Pritchett) who directs the play.

The play certainly teaches one how important it is to take note of how people change, transform and do better things in their lives and should not judge on existing stereotypes and appearances. It is emphasised that it isn’t easy because of society attitudes and domineering views particularly festered from the social and legal systems firmly established at the time. The characters’ rehearsals offer the opportunity for the audience to know some of the characters better and individually. An appreciation is gained from Our Country’s Good and how they ended up being convicts and mitigating circumstances such as the social injustices and inequalities.

It is about seeing the characters for who they are as people inside and not by the convicts’ appearances or numbers. This production is so relevant today – true there is more equality but still there is a lot of social inequalities and financial deprivation in many pockets of society which causes divisions and misunderstandings.

This unique production is so easy to follow and understand. It is importantly accessible for the deaf members of the audience particularly with subtitles, audio description and sign language which the latter is integrated successfully in the play. It is heartening to see deaf, disabled and non-disabled performers work in harmony in delivering a humbling and moving performance. A credit to Ramps on the Moon to successfully co-ordinate this and give such performers an opportunity to express creatively and work in the theatre.

Neil Murray’s spacious effective staging brings out the well made and superbly directed production and is complimented with Mark Jonathan’s lighting and Jon Nicholls’ soundscapes. It is certainly a production to see while it tours and figuratively as well as physically transports the convicts and officers journey from beginning to end. Our Country’s Good is not to be missed!

Lyceum Theatre, Sheffield – until 14th April 2018.

Reviewed by Sophie Dodworth

5*****

Jane Eyre is possibly one of the most well-known female heroines in the history of English literature. The novel was Charotte Brontes first published piece of work in 1847. Set in Haworth, Yorkshire; the story follows Jane Eyre on her emotions and experiences through life, concentrating on her growth to adulthood and her love for Edward Rochester. This a tale primarily about relationships.

Before curtain up at the Lyceum there is a rapturous round of applause in anticipation. The audience are clearly fully aware of what Northern Ballet can deliver and the majority feel like regulars to the companies dramatic productions.

From the first moment that the very first dancer enters the stage, there is almost a halt on any noise from anyone, a feeling that the audience is collectively sat in awe at the perfection on stage, waiting for the next magical moment with baited breath. And you won’t have to wait long. This production is non-stop, full of unbelievable, magical moments.

You are treated to a real modern mix of ballet and contemporary movement, so descriptive; there is no need for any deep analysis. The textured backdrop and costumes on stage both in a mix of greys and navy shades all add to the eerie feel of the gothic piece. The rigid staccato, the elongation of limbs and variation of shapes created by these exquisitely trained dancers is an absolute delight.

Dreda Blows’ performance of Jane Eyre, delivers in every possible way, sturdy but elegant. Working opposite her is Javier Torres in his role as Edward Rochester. This pairing is undoubtedly the right one. You almost feeling you are intruding on intimate moments throughout the show when these two are alone. The entire cast dance so supremely, you could actually start to wonder if these people are human?!

There are some really touching moments in the two hour performance, evoking emotions in the viewer and almost taking your heart for a dance on stage with theirs. The unison scenes are just outstanding, so together and impeccable.

Hats off to Cathy Marston, choreographer, for this masterpiece. She should feel super satisfied that the portrayal of the relationships and lovers on the stage is transparent and easy to dissect.

The ballet is not one to be missed and if you can get to see it, you won’t be disappointed; if you like ballet and every second of a performance filled with perfectly executed content, this one is for you

REVIEW: THOROUGHLY MODERN MILLIE (Sunderland Empire) ★★★★

April 11, 2018 

For : West End Wilma 

https://www.westendwilma.com/review-thoroughly-modern-millie-sunderland-empire/

Winner of six Tony Awards Thoroughly Modern Millie is the delightful comedy based on the 1967 award-winning film.

It’s 1922 and naive ingenue Millie Dillmount (Hayley Tamaddon) quits Kansas for the bright lights of New York City, determined to bag herself a wealthy businessman as a husband. But things don’t go exactly to plan, as she has her money stolen, ends up living in a flophouse run by a white slave trader Mrs Meers and falls for the penniless Jimmy instead of capturing the heart of her boss. We get to see Millie transfer from a country bumpkin into a flapper, with the bobbed hair and trendy clothes, and getting a job as a stenographer and setting her sights on her boss, Mr Trevor Graydon III, played by Richard Meek.

Described as a musical comedy, the production certainly pulls out all of the stops when it comes to the over the top characterisation. Hotel owner Mrs Meers (Lucas Rush) presents himself as an old Chinese woman, despite actually being a male failed actor and wanted criminal. The two sidekicks Ching Ho and Bun Foo (Guy Salim and Patrick Jeremy) pander to his manipulative orders, and their lack of English provides great comedy. The decision to put up subtitles for the rapid Chinese dialogue is a masterstroke.

Needless to say, things don’t go to plan and Millie ends up falling in love with the supposedly flaky, penniless, lady killer Jimmy Smith, played by Michael Colbourne. His portrayal of Jimmy was more than a match for Tamaddon with his singing and dancing.

Lisa Bridger, who plays Millie’s friend Miss Dorothy, and Meek certainly have the best vocals of the whole cast but Tamaddon does a great job as Millie and shows she can sing and act, as well as dance. They are well supported by the rest of the cast. Nicola Blackman gives the vocal performance of the night as Muzzy Van Hossmere, effortlessly filling the auditorium with her rich, velvety voice.

There was lots that I enjoyed about this production, the scenes in the illegal drinking club. The massed ranks of the stenographers in the office, earphone hairstyles and spectacles, coloured in green under the eagle eye of Miss Flannery (Natalie Spriggs) were fun. The big ensemble numbers have bags of pizzazz, and director/choreographer Racky Plews’ clever tap dancing typing pool sequence is a visual treat. The costumes are beautiful and the set whipped us back into the age of the roaring 20’s.

Overall it was a great comedy performance and had all the audience laughing, and at one stage even the cast when Meek was playing the extremely drunk Graydon. It was infectious to see everyone laughing along and taking it in their stride. Epitomising old school musical theatre, Thoroughly Modern Millie is a show that boasts a tremendous score and excellently witty dialogue. Thoroughly Modern Millie is a thoroughly fun show which continues until Saturday 14th in Sunderland and on tour around the UK.

David King for Summer Holiday Theatre Ltd presents

FULL CASTING ANNOUNCED FOR BRAND NEW STAGE MUSICAL

SUMMER HOLIDAY

2018 UK TOUR

TV/STAGE FAVOURITE AND DANCING ON ICE STAR RAY QUINNPLAYS DON, THE ROLE MADE FAMOUS BY CLIFF RICHARD

MUCH LOVED ENTERTAINER BOBBY CRUSH IS LONG-SUFFERING AGENT, JERRY

Brand new stage musical Summer Holiday is set to tour the UK from May 2018, with the famous red double-decker bus making its first stop at the Liverpool Empire on Tuesday 8^th May.

Based on the iconic 1960’s film of the same name, starring Cliff Richard and The Shadows, Summer Holiday will include all of the number one hits from the movie, plus some additional Cliff Richard classics.

Taking on the lead role of Don made famous by Cliff Richard, is singer-songwriter Ray Quinn. Ray shot to fame as the runner-up in ITV1’s The X Factor in 2006. This spurned a career in both music and of late musicals, with his debut album ‘Doing it My Way’ entering the charts at Number 1, and quickly gaining platinum status. Ray is perhaps best known of late for ‘doing the double’ on ITV1’s hugely successful show Dancing on Ice, winning for the first time in 2009, and then again on Dancing on Ice: Champion of Champions in 2014. Ray’s theatre credits include Danny Zuko in Grease (West End), Dirty Dancing (West End), Legally Blonde (UK Tour) and most recently, The Wedding Singer (UK Tour).

The role of Jerry, the long-suffering agent, will be played by Bobby Crush for the first eight weeks of the tour. Famous in the UK for 45 years primarily as a pianist, but also as a songwriter, actor, broadcaster and television presenter, Bobby rose to fame after six winning appearances onOpportunity Knocks (ITV). West End successes include three seasons at the London Palladium alongside Jack Jones, Vic Damone and Dame Julie Andrews. He also spent a year with Max Bygraves in SwingalongaMax at the Victoria Palace and was chosen to appear for Queen Elizabeth, the Queen Mother at The Royal Variety Performance. Bobby has also appeared in four musicals starring as Dr. Frank N. Furter in The Rocky Horror Show, Vernon Gersch in They’re Playing Our Song, L.M. in Pump Boys and Dinettes and Billy Flynn in Chicago at top theatres around the United Kingdom. Bobby’s debut album ‘Bobby Crush’ reached the UK top 20, and he plays the role of Pharaoh on Pickwick’sJoseph and the Amazing Technicolor Dreamcoat. TV credits include two series of Sounds Like Music(ITV) as the show’s host, and most recently, Bobby has been playing Billy Sparkle in the popular TV comedy Benidorm (ITV). Bobby can currently be seen on a major new series for ITV called Last Laugh in Vegas, which documents Bobby’s American debut alongside 7 other legendary British acts and their adventure to star in a Las Vegas show.

Sophie Matthew plays runaway singer, Barbara, with Taryn Sudding taking on the role of Stella, her controlling fame-hungry mother. Sophie is best known for playing the role of Sarah in Our House (UK Tour), and also played the role of Ginny in Humans (Channel 4). Taryn Sudding played Angie in the 1997 production of Summer Holiday. She is most well-known for playing Bombalurina in Cats across the world over a fourteen-year period, including in the original South African production. Other notable roles include Grace Farrell in Annie (South African Production), and Elsa in The Sound of Music (SA and international tour).

Billy Roberts (Steve), Joe Goldie (Edwin) and Rory Maguire (Cyril) play Don’s fellow London Transport mechanics. Billy Roberts is best known for playing Emmo in Our House (UK Tour); Joe Goldie’s credits include playing Scooby-Doo in Scooby-Doo Live! Musical Mysteries (London Palladium; UK Arena Tour) and Rory Maguire played Peter Pan/Ensemble in Shrek The Musical (UK and Ireland Tour), and 2^nd cover Pepper in Mamma Mia! (UK Tour).

Gabby Antrobus (Mimsie), Alice Baker (Alma) and Laura Marie Benson (Angie) play girl singing group ‘Do-Re-Mi!’. Gabby was in the ensemble for Monty Python Live (Mostly): One Down Five To Go, choreographed by Arlene Phillips at the O2 arena, and broadcast around the world. Other credits include Dirty Dancing (UK Tour) and most recently Olga Mara/ensemble in Singin’ In The RainRevival (Theatre Musical de Paris-Chatelet). Alice Baker is best known for playing Gloria and Millie inThoroughly Modern Millie (UK Tour). Alice also played Baby in Secret Cinema’s production of Dirty Dancing. Laura Marie Benson is best known for playing Alice and Miss Flannery in Thoroughly Modern Millie (UK Tour).

The cast is completed by Hannah Barr (Female Ensemble), Becky Bassett (Female Character),Caroline Bateson (Resident Choreographer); William Beckerleg (Male Character); Adam Crossley(Male Ensemble, Dance Captain); Sam Gallacher (Male Ensemble); Leanne Groutage (Female Ensemble) and Matt Trevorrow (Male Ensemble).

Summer Holiday tells the story of Don and his fellow London Transport mechanics as they journey together in a red double-decker bus through Paris, the Alps, Italy and Greece. Along the way they pick up a girl singing group and a young American pop star who is on the run from her domineering mother!

This hit – filled musical features many of 1960’s biggest songs including In the Country, Summer Holiday, Travellin’ Light, Bachelor Boy, Move It, Living Doll, The Young Ones and On the Beach.

Tickets for Summer Holiday are on sale now and can be purchased atwww.summerholidaythemusical.co.uk

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SUMMER HOLIDAY

Stage Adaptation by Michael Gyngell and Mark Haddigan

Based on the film SUMMER HOLIDAY, Directed by Peter Yates

Screenplay by Ronald Cass and Peter Myers

By special arrangement with StudioCanal

Orchestrations by Keith Strachan

Presented by arrangement with

Music Theatre International (Europe) Limited

On behalf of Josef Weinberger Limited

Executive Producer

David King

Director and Choreographer

Racky Plews

Yvonne Arnaud Theatre, Guildford – until 14 April 2018.  Reviewed by Heather Chalkley

4****

The shock of the opening scene set the pace and tone for the rest of the play. The combination of a clever set, hearing the loud voices in his head and the performance of Dean Smith as Joe Herbert, immediately locked you into his character. His loneliness and sense of being lost was tangible and you knew he was going to jump in front of the train. All that without him speaking a word! Followed swiftly by the rescue of Joe by Sandor Wincanton, played by Joe Eyre. The scene completed dramatically with the dark and cold announcement that Joe Herbert’s life now belonged to Sandor. He had become the Gallowglass or ‘chieftains slave’. The change in demeanor of Joe Eyre’s Sandor was swift and the acceptance by Dean Smith’s Joe Herbert instant.

The story is about a kidnapper that fell in love with his victim and wants to recreate the perceived love they shared, including the crime! You realise that Ruth Rendell has written into the storyline hostage victims on more than one level: Joe Herbert as The Gallowglass; the wife, Nina Abbott, is the princess in her fortress; Sandor Wincanton trapped in his own delusion of love. It would take a sharp mind to keep up with the pace of the piece and solve the plot line before it unfolds.

Joe Eyre portrayed a controlling, maniacal character, using an unhinged laugh and cut throat razor to full effect. His character Sandor was a frightening caricature in direct contrast to a believable, likeable Joe Herbert by Dean Smith. Despite being written in 1990 the storyline has a relevance today, mirroring the rise in serious crime committed by young males suffering issues with mental health. It opens the debate anew.

Florence Cady gave her character Nina Abbott, the grace and confidence of a wealthy woman who will never want for anything. She added a realistic vulnerability and desperation, searching for a way out of the hell she was living, using her sexuality as a means of escape in the way she always had.

Humour was injected into the play by two characters. Firstly Tilley, played by Rachael Hart with a keen sense of survival, hard, brash and who loved her brother Joe. One of my favorite moments was the dynamic scene where Sandor is holding the cut throat to Nina’s neck and Tilley is asking for the phone number, so she can make sure they get their money before Sandor commits murder! More humour comes from Karen Drury’s Diane, the well healed mother of Sandor. Her selfishness and inappropriate behaviour is both shocking and funny, delivered with spot on timing.

Paul Garnett is the lonely father, trying to do the best by his daughter. A solid believable, if not slightly mysterious character, played by Paul Opacic. His interaction with Eva Sayer as his daughter Jessica was a well balanced performance. I was impressed with Eva Sayer’s portrayal of Jessica, forgetting that she was not actually an 11 year old school girl!

Michael Lunney’s direction and design, cleverly used projected backdrops of real scenes, alongside spot on sound effects, that together built the tension and atmosphere. Scrims enabled him to create more than one scene on stage at a time, sustaining a fast paced tempo.

I believe Ruth Rendell would be pleased with the twist in the final scene, delivering a macabre end to a suspense filled, desperately gloomy storyline.