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WHAT’S THE FUZZ ALL ABOUT

AVENUE Q UK 2019 TOUR CAST ANNOUNCED

Guess Q’s back! The naughtiest puppets in town will be coming to a venue near you as comedy musical Avenue Q returns next year to tour the UK with all of your favourite fuzzy friends, opening at Portsmouth Kings Theatre 25 January 2019.

Following five years in the West End, sell-out runs worldwide and smash hit tours in 2014, 2015 and 2016 (packed with mischief, bad behaviour and political incorrectness!) Tony Award-winning Musical, created by Jeff Marx and Robert Lopez ,Co-creator of Book of Mormon and writer of the songs for Disney’s Frozen, is an irresistibly charming tale of the loveable characters on a downtown New York street trying to make sense of life’s burning issues.

Cast announced today includes Megan Armstrong, Jasmine Beel, Ellis Dackombe, Chloe Gentles, Nicholas Mclean, Robbie Noonan, Saori Oda, Cecily Redman, Lawrence Smith, Oliver Stanley and Tom Steedon

Meet Princeton, a bright-eyed graduate who comes to New York City with big dreams and a tiny bank account. Brian the out-of-work comedian and his therapist fiancée Christmas Eve; Nicky the good-hearted slacker and his closet gay Republican roommate Rod, an Internet ‘sexpert’ called Trekkie Monster, Lucy the Sl*t (the name says it all!) and a very cute kindergarten teacher named Kate Monster. Featuring hysterically funny songs including The Internet is for Porn and Everyone’s A Little Bit Racist, Avenue Q is a hilarious musical with a warm (and very fuzzy) heart.

Avenue Q first opened Off-Broadway at the Vineyard Theatre in 2003, before transferring to Broadway later that year where it won three Tony Awards for Best Musical, Best Score and Best Book. In 2006 it transferred to the West End where it ran for five years before touring the UK. It has appeared in more than ten countries all over the world.

Avenue Q is produced by Selladoor Worldwide (producers of Footloose, Little Shop of Horrors, Flashdance –  The Musical and Fame –  The Musical), Showtime Theatre Productions and in association with Richard Darbourne Limited – Avenue Q is directed and choreographed by Cressida Carré, designed by Richard Evans, Lighting Designed by Charlie Morgan Jones and Sound Designed by Chris Bogg.  Puppets are designed by Paul Jomain of Q Puppets with Puppet Coaching by Nigel Plaskitt.

Hilarious, cheeky and uproariously entertaining, with a cast of 11 hugely talented performers and puppets, Avenue Q is the musical like no other.

So don’t let your life suck – book your tickets today! (Suitable for audiences 14+)

 

LISTINGS

25 Jan – 02 Feb           Kings Theatre Portsmouth  – www.kingsportsmouth.co.uk  – 023 9282 8282

04  – 09 Feb                 Wimbledon New Theatre – www.atgtickets.com/wimbledon – *

11 – 16 Feb                  New Alexandra – Birmingham –  www.atgtickets.com/birmingham    – 0844 871 3011 *

25 Feb – 02 Mar         Chester Storyhouse – www.storyhouse.com – 01244 409 113

11 – 16 Mar                Basildon Towngate –  www.towngatetheatre.co.uk   – 01268 205 300

18 – 23 Mar                Derby Theatre –  www.derbytheatre.co.uk   – 01332 59 39 39

25 – 30 Mar                Bradford Alhambra –  www.bradford-theatres.co.uk   – 01274 432000

01 – 06 Apr                  Marlowe Theatre Canterbury –  www.marlowetheatre.com   – 01227 787787

08 – 13 Apr                  Wirral Floral Pavillion – www.floralpavilion.com  – 0151 116 0000

15 – 20 Apr                  Cheltenham Everyman  – www.everymantheatre.org.uk  – 01242 572573

22 – 27 Apr                  Reading Hexagon – www.readingarts.com/hexagon/ – 0118 960 6060

29 Apr – 04 May         Ipswich Regent Theatre –  www.ipswichregent.com   –  01473 433100

06 – 11 May                Dunstable Grove Theatre – www.grovetheatre.co.uk –   01582 60 20 80

13 – 18 May                Gaiety Theatre Dublin – www.gaietytheatre.ie – 0818 719 388

20 – 25 May                Leicester Haymarket – www.haytheatre.com  – 0116 296 1236

27 May – 01 Jun          Edinburgh Kings Theatre – www.capitaltheatres.com –  0131 529 6000

03 –  08 Jun                 Brighton Theatre Royal –  http://www.atgtickets.com/brighton   – 0844 871 7650 *

10 – 15 Jun                  Wolverhampton Grand – www.grandtheatre.co.uk –  01902 42 92 12

17 – 22 Jun                  Cardiff New Theatre – www.newtheatrecardiff.co.uk    – 0292 087 8889

24 – 29 Jun                  Glasgow Kings Theatre www.atgtickets.com/glasgow  – 0844 871 7648 *  

15 – 20 Jul                   Nottingham Theatre Royal – www.trch.co.uk – 0115 989 5555

29 Jul – 03 Aug            Sheffield Lyceum www.sheffieldtheatres.co.uk  0114 249 6000

07- 10 Aug                   Belfast Waterfront Theatre – www.waterfront.co.uk –  +44 (0)28 9033 4455

                       

* Calls cost 7p per minute, plus your phone company’s access charge.

 

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York Theatre Royal – 28 November 2018

Reviewed by Marcus Richardson

4****

The Story of Marie Lloyd came to the York Theatre Royal as a fundraiser with the Olivier nominated Elisabeth Mansfield taking the only role in the show. Marie Lloyd is known as the Queen of Music Hall, if you’re over a certain age I’m sure you will know her songs and her witty performance style. We the audience watch as Mansfield unpacks her life alongside music through her years. The fundraiser for York Theatre Royal is to help with the youth theatre and various community projects through the city of York.

Mansfield takes us on a journey filled with laughs and good times, however we are treated to moments in the play where more serious issues are handled, this is done perfectly and at times you are put into a silence with the huge contrast throughout the play. Being a one-woman show all of the performance is on Mansfield, with a lot of lines to learn and music to work with I am impressed as can see why she was nominated for an Olivier, a mastery of the role and the stage. Although being a one-woman show there was someone playing the piano on stage a lovely touch to the performance, it really brought the music hall aspect to life and if the music was on track it would of felt dead, so I’m pleased.

The stage was simple and classical nothing fancy, no stage tricks, just a stage with a piano and a area filled with costumes table and a chair, costume changes were done on stage in character which made a few audience members laugh as the flirt outs character made humour in the moment. The way the show is presented is almost noted in the show itself, when the character talks about how a stage should just have a performer on and nothing else.

The only thing to note about the performance is you really need to be the target audience to fully get the show, which is above 60 at the least, which I am not. I didn’t understand anything to begin with, I grew to appreciate the show as it went on, and after the show, when the show started I was dreading what I was about to watch, even for the first few minutes but the play explored her life in a way we can understand the life of Marie Lloyd. The older people were singing along having a good time. Mansfield shows everyone what it means to be a quality performer

Park Theatre and Breaking Productions present the World Premiere of
ROSENBAUM’S

RESCUE

9 January – 9 February 2019| Park Theatre

 

Casting has been announced for Rosenbaum’s Rescue, the World Premiere play exploring the true story of how over 7,000 Danish Jews managed to escape the Nazi occupation in 1943. Starring Olivier Award-winner David Bamber, Neil McCaul, Dorothea Myer-Bennett and Julia Swift, the production unearths new accounts behind one of history’s most compelling mysteries. Directed by Kate Fahy and written by A. Bodin Saphir.

October, 1943. Seven and a half thousand Jews flee Denmark in fishermen’s boats, crossing the water to Sweden and to safety from the occupying Nazi regime. To some, a miracle rescue of biblical proportions. To others, the question remains: how did thousands of Jews slip through the grasp of the most powerful war machine ever assembled?

 

Hanukkah, 2001. At a remote home on the snowy Danish coast, it’s time for two old friends to bury the hatchet. Lars and Abraham have not seen eye to eye for decades, but old tensions refuse to thaw as Lars’ relentless pursuit of the truth concerning the flight of Danish Jews during WWII challenges Abraham’s faith, patience and memories. And when an old secret surfaces and threatens the very foundation of their relationship, fact starts to blur with fiction.

 

Playwright A. Bodin Saphir said:

 

“ ‘Rosenbaum’s Rescue’ is inspired by my grandparents’ story of escape from Nazi occupied Denmark. Although he rarely talked about it, my grandfather was witness to a moment in history that contemporary historians now believe to be an important piece in the puzzle to understand why the ‘rescue’ of the Danish Jews was so successful and who was responsible for its success.

Armed with a perspective and information unavailable to their predecessors, a new generation of Danish historians are re-examining that ‘Miracle Rescue’ and their conclusions have proven shocking. This play is a testament to the evolution of that narrative from a black and white fairytale to a more complex, and in many ways, a more profound truth of a thousand greys. And although my grandfather found it difficult to speak of that time, I feel that now his story has finally been heard.”

 

Olivier Award-winning actor David Bamber plays Abraham. David’s stage credits include: Communicating Doors (Menier Chocolate Factory), Harvey (UK Tour/Theatre Royal Haymarket), The Glee Club (Bush & Duchess Theatre), Three Birds Alighting on a Field (Royal Court Theatre), Search & Destroy, Byrthrite, Billy Karate, My Night with Reg (Best Actor Olivier Award 1995 – Royal Court), Betty Blue Eyes (Novello Theatre) and The Oresteia, The Long Way Round, Hamlet, Racing Demon, Wind in the Willows, Troilus and Cressida, Merchant of Venice & Honk (National Theatre). His recent screen credits include: The Darkest Hour, Borg Vs McEnroe, Mad to be Normal, Queens of Mystery (Acorn), Gunpowder (BBC), Trust (FX Productions), Victoria (ITV), Silent Witness (BBC), Call the Midwife (BBC), A Very English Scandal (BBC), Snatch (AMC), Tina & Bobby (ITV), Camping (Sky Atlantic), Quacks (BBC),  Death in Paradise (BBC), Doctor Who (BBC), Father Brown (BBC) & What Remains (BBC). 

 

Neil McCaul plays Lars. His stage credits include: The Other Place (Park Theatre), Fatherland (Lyric Hammersmith, Manchester Royal Exchange), After Electra (Theatre Royal Plymouth/ Tricycle Theatre), Guys and Dolls (Chichester Festival Theatre), Calendar Girls (Noel Coward Theatre), Oedipus, Accomplices (National Theatre), Mr England (Crucible Theatre), Merchant of Venice, Trelawney Of The Wells (Old Vic), Privates On Parade (Piccadilly Theatre), Guys and Dolls (Savoy Theatre/ Chichester Theatre) and Soho Cinders (Soho Theatre). His TV credits include: Benidorm, Midsomer Murders, Dark Matter, Doctors, Foyle’s War, Holby City, Blue Murder, Most Mysterious Murders, Nostradamus, Fifty Five Degrees North, Crossroads, EastEnders, Hearts and Bones, Lock Stock, People Like Us, Where the Heart is (series 3), A Wing and a Prayer, Tandem, Ruth Rendell: Road Rage, Comedy Nation, Does China Exist? and the Father Ted Christmas Special.

 

Dorothea Myer-Bennett plays Eva. Her theatre credits include: Holy Sh*t (Kiln Theatre), The Winslow Boy (Chichester Festival Theatre/Birmingham Rep/UK Tour), The Lottery of Love, The Philanderer (Orange Tree), The Merchant of Venice (Shakespeare’s Globe/World Tour), Pericles (Shakespeare’s Globe), Richard III, Uncle Vanya (West Yorkshire Playhouse), This Was A Man (Finborough Theatre), As You Like It, Arcadia, Two Gentlemen of Verona, Richard III, The Misanthrope, Comedy of Errors, King Lear and The Cherry Orchard (Tobacco Factory). Her TV credits include: Holby City (BBC), Jude the Obscure, Dead Man Talking (BBC) and Plastic People (Green Dot).

 

Julia Swift plays Sara. Her theatre credits include: Philadelphia Here I Come and Orpheus Descending (Donmar Warehouse), Revelations (Comedy Theatre), Broken Glass (National Theatre), Royal Borough and Ambulance (Royal Court), The German Connection (Young Vic), The Relapse (Old Vic Theatre) and Two Gentlemen of Verona & All’s Well That End’s Well (Royal Shakespeare Company). Her TV credits include: Doctors (BBC), Casualty (BBC), Doc Martin (ITV), Holby City (BBC), Midsomer Murders (ITV) and The Bill (ITV).

 

Director Kate Fahy, returns to Park Theatre where she directed Jean-Claude Carriere’s Little Black Book in Park90. She also directed Oliver Cotton’s play Wet Weather Cover at The King’s Head and in the West End’s Arts Theatre. Kate is also an actress, with recent credits including Handbagged (Roundhouse Theatre Washington DC/Tricycle Theatre), A Lie Of The Mind (Southwark Playhouse), Winter Solstice (Orange Tree Theatre) After Electra (Tricycle Theatre), Martin Crimps’ Definitely The Bahamas (Orange Tree Theatre) and Edward Albee’s The Goat (Almeida Theatre /Apollo Theatre).

A filmmaker and writer, A. Bodin Saphir has written and directed a number of acclaimed short films. He produced and co-directed the award winning documentary Who’s Gonna Love Me Now? and is Author in Residence at Great Ormond Street Hospital. Rosenbaum’s Rescue is his first play.

 

www.parktheatre.co.uk

Box office: 020 7870 6876*

LISTINGS

ROSENBAUM’S RESCUE

Venue: Park200, Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP

Dates: Wed 9 Jan – Sat 9 Feb 2019

Age guidance: 14+

Performances: Evenings Mon – Sat 7.30pm, Matinees Thu & Sat 3pm

Captioned: Wed 6 Feb 7.30pm

Prices: Previews £18.50, Standard £18.50 – £32.50, Concessions £16.50 – £23.50, Child (Under 16) £15 – £20*
Booking: www.parktheatre.co.uk / 020 7870 6876

*10% telephone booking fee, capped at £2.50 per ticket.

Daisy Hale and Kate O’Connor in association with Theatre503 present
Cuzco
Written by Víctor Sánchez Rodríguez and translated by William Gregory
Theatre503, 503 Battersea Park Road, London SW11 3BW
Wednesday 23rd January – Saturday 16th February 2019, 7.30pm

Marking the first time in seven years that Theatre503 have programmed a play in translation, 2019 will kick off with the English-language premiere of the multi-award winning Cuzco which explores intimacy in a globalised world. A revelation about the clash of colonial histories and commercialised contemporary tourism, Cuzco is written by Víctor Sánchez Rodríguez, winner of the Best New Playwright Premio Max, Spain’s foremost theatre awards. It has been translated in collaboration with William Gregory who has worked on productions for international projects at the Royal Court Theatre and The Gate.

Set along the Inca Trail, Cuzco is a sharp contemporary portrait of a Spanish couple increasingly lost to one another. In a bid to save their relationship, they travel to South America to find escape and reinvigoration in Cuzco, the conquistador stronghold, Inca city of the puma and tourist paradise. Their tragic love story unravels as they journey towards Macchu Picchu haunted by their own desires and the ghosts of Spain’s colonial past.

Kate O’Connor (Frozen Light; Researcher, Minefield; JMK Finalist) directs the UK premiere from one of Spain’s most acclaimed young playwrights. The two-hander stars Gareth Kieran Jones (Jubilee, Royal Exchange and Lyric Hammersmith; Pony Boy Curtis, The Yard Theatre; The Sea Plays, Old Vic Tunnels) and Dilek Rose (Twist, UK tour; The 24 Hour Plays, The Old Vic; Contractions, Trafalgar Studios).

A play about nationality, colonialism and language, the translation of Cuzco was born out of a meeting between playwright and translator in Madrid in 2016, and their close collaboration ever since. William Gregory’s translation retains the poetry, passion and playfulness of the Spanish original while opening up new resonances for English-speaking audiences. He will continue to play a central role in rehearsals, providing insights for the actors and director from his research and translation process, helping to deepen their understanding to create a profound and compelling cross-cultural experience for audiences in London.

Víctor Sánchez Rodríguez comments, When you travel, you often see yourself reflected in the country you visit. I wanted to talk about relationships, about the idea of Spain when you’re in a place like Cuzco. About all of these things, because it’s from a distance that we can best speak about ourselves. I’m engaging with the present and with how society, politics and the economy affect our sense of self and our most intimate relationships

Kate O’Connor adds, We’re so proud to be bringing Cuzco to a UK audience for the first time with the English-language premiere at Theatre503. Víctor is a writer with a unique and incisive vision of our generation; through this strange and compelling story of heartbreak he is asking questions about what it means to live in today’s globalised world, and whether we can ever truly connect with one another under these conditions. At the core of this project is the work of our translator whose collaboration with writer, creative team and new writing powerhouse Theatre503 will turn this production into an opportunity for cultural exchange, something that couldn’t be more crucial at this moment in the UK.

This production emerged from the work of Out of the Wings collective, based at King’s College London. Cuzco is supported by Acción Cultural Española, Arts Council National Lottery Project Grants, Cervantes Institute and Ibérica restaurants.

ROY BUDD’S EPIC MASTERPIECE PHANTOM OF THE OPERA LIVE

TO BE UNMASKED YET AGAIN

 

·        Roy Budd’s score to Rupert Julian’s 1925 silent film version of The Phantom at the Opera for one-night only at the Barbican 18 March 2019

·        Only the second ever performance of one of the late all-time great British musicians, Roy Budd’s finest work

·        All the funds raised from the production will go to helping rid the world of polio

In the summer of 1993 renowned composer and jazz pianist Roy Budd’s score for Rupert Julian’s classic 1920s silent film The Phantom of the Opera was to set be performed in London. Then he had a brain haemorrhage.Nearly a quarter of a century later his widow, Sylvia, fulfilled his dream and Budd’s masterpiece score to the 1925 Phantom of the Opera was performed at the London Coliseum on 08 October 2017, featuring the 77-piece orchestra. The performance received a resoundingly positive response from critics and audience alike.

Today the producers are delighted to announce that another one-off performance of Roy Budd’s masterpiece will be performed at the Barbican on 18 March 2019 – the very same venue it was originally meant to be screened at 25 years ago. It will once again be performed by the magnificent Docklands Sinfonia orchestra and led by Conductor Spencer Down. Since its formation, the orchestra has enjoyed incredible success with performances at Buckingham Palace for the Queen and with world-renowned classical artists such as Alison Balsom, Leonard Elschenbroich and Elin Manahan-Thomas.

The Phantom of the Opera represents the apex of the career of a man who not only bought the last surviving 35mm negative of the film he adored since the age of 11, but who made his debut at the Coliseum aged 6 and went on to compose the score of the seminal 1971 gangster movie Get Carter, starring Michael Caine. The music budget was a mere £450, but Budd, along with a bassist and a percussionist, recorded a spine-tingling harpsichord motif which is now iconic. Among more than 50 other films scored by Budd were Paper Tiger, The Sea Wolves, Who Dares Wins and the 1971 version of Kidnapped

Adapted from Gaston Leroux’s gothic novel, Rupert Julian’s The Phantom of the Opera tells the twisted tale of a mysterious recluse (Lon Chaney) who tutors a soprano at Paris’s Palais Garnier opera house while hiding a nocturnal penchant for chandelier-related slaughter. The film has been digitised and very subtle colour added throughout, with one critic noting last year that the restored film is a work of art.

As for the music, to call last year’s rendition a triumph is an understatement. Budd’s score was played with perfect timing and huge energy, intensifying the audience’s connection to a film which remains as unsettling and emotive as ever. This is a truly unique and original spectacle that is not to be missed.

Producer Nick Hocart says; “I am excited to work with Spencer Down and Dockland Sinfonia again, and to be presenting Roy’s work in the Barbican where it was due to premiere 25 years ago is history in the making.”

All the proceeds from the production will be going to the Rotary Club Foundation UK; specifically, the Purple for Polio initiative. Furthermore, for every pound raised, the Gates Foundation will donate a further two pounds, whilst producers Sylvia Budd and Nick Hocart are waiving production fees and donating their time for this event.

Eve Conway, Vice-Chairman of Rotary International’s End Polio Now: Countdown to History Campaign Committee, says: “We are on the brink of making history by eradicating only the second human disease ever after smallpox. There have been just 27 cases of wild poliovirus worldwide this year in two countries: 19 in Afghanistan and eight in Pakistan. This compares to a thousand cases of polio a day in 125 countries when Rotary started our campaign to rid the world of polio in 1985. With our partners in the Global Polio Eradication Initiative, we have reduced cases by 99.99 per cent. We need to finish the job and end polio now and forever and this means continuing to raise awareness and funds for immunisation campaigns in at-risk areas, as well as routine immunisation. That is why the proceeds from this event are so vital to help make sure we achieve a polio-free world”.

Roy Budd’s Phantom of the Opera is sponsored by Wine Bourse, Ignition Law and Sylwia Romaniuk Couture whose support to the event will enable maximum funds to be generated for the charity”.

“Forget Lloyd Webber: Roy Budd’s original Phantom of the Opera music is finally unmasked”

The Daily Telegraph

 

General On-Sale

Barbican, Silk Street, London, EC2Y 8DS

Dates: 18 March 2019

Time: 7.30pm

Prices from £29-39.00 plus booking fees

 £10 Young Barbican (no booking fees)

Ticket Link https://www.barbican.org.uk/whats-on/2019/event/roy-budds-phantom-of-the-opera

  

http://www.roybudd.com/phantom-of-the-opera

Lyceum Theatre, London.

Reviewed by Keiley Archer.

5*****

Running for an astonishing 19 years, The Lion King has been enchanting audiences of all ages at the Lyceum Theatre in London. The show follows the well-known story of young Simba and his journey to taking his place as King of the Jungle. The current cast includes Nick Afoa as Simba, Shaun Escoffery as Mufasa and George Asprey as Scar.

The theatrical adaptation combines the original, well-loved classics by Elton John and Tim Rice, like ‘Circle of Life’ and ‘Can You Feel the Love Tonight’, as well as incorporating in newer songs. A particular favourite of mine is ‘They Live in You’, which is performed by Mufasa to teach Simba about his ancestors who are watching over him.

The staging is cleverly used to recreate the iconic moments recognisable by fans of The Lion King film, such as Rafiki lifting baby Simba over Pride Rock and Mufasa’s projection in the stars telling Simba to “remember who you are”. It achieves this through the use of colourful puppetry, silhouettes, clever staging and opulent costumes working collaboratively to recreate the vast African landscape. This mix of techniques will mesmerise all members of the audience; younger viewers will be enthralled by the colours, Disney fans can enjoy the cleverly recreated iconography and regular theatre goers will be fascinated by the stunning production onstage.

Ultimately, The Lion King is an experience not to be missed and is one that is sure to have you planning your next trip the second you leave the theatre.

Mayflower Theatre, Southampton – until 8 December 2018 

Reviewed By Jo and Harry Gordon

4****

Shrek the film is a firm family favourite in the Gordon household so we were looking forward to seeing the Green Hero doing his thing on the big stage. Shrek premiered on Broadway back in 2008 and has been delighting audiences ever since.

Now Shrek has turned the grand old age of seven his parents turn him out to find his way in the big wide world, finding the perfect swamp for an Ogre, Shrek settles down to his new life. One day it becomes over run by an eclectic mix of fairytale folk who have been sent to find him by Lord Farquaad, the vertically challenged leader of Dulcoc. Farquaad sends Shrek off into yonder to find and rescue the woman he wishes to marry to enable him to become the King of Dulcoc. Armed with a suit of armour, a sword and an over excitable Donkey at his side, will Shrek complete the quest and save the day?

The production has everything a young (and old) audience enjoy. Show tunes, dance numbers, jokes that have many levels, romance and of course the much loved and favoured fart scenes – much to the delight of the younger crowd. The four main characters bounce off each other incredibly well which makes it nice and easy to watch.

Steffan Hari has the character of Shrek nailed down perfectly, he gives him a large presence as is fit for an ogre but shows his more vulnerable side and is a less angry Shrek than you see in the film. At times I did struggle to understand the odd line said in Shrek’s infamous accent but soon fell into the rhythm. Shrek’s crazy sidekick, Donkey, is played by Marcus Ayton who is full of the energy and  comic timing needed to carry the character off and adds his own dimension to the hooved comic we all love. Princess Fiona needs to have a strong heart yet show a softer, insecure side brought on by her hidden secret, Laura Main has  achieved this and then flew with it! Playing Fiona with a kooky edge really adds another dimension to the character. My personal favourite was Lord Farquaad  played by Samuel Holmes. Dry humoured and full of short guy rage he had me chuckling the most. Every time he entered the stage with his hilarious little legs I laughed longer and louder than those around me, maybe I feel where he’s coming from being vertically challenged myself! On a whole, the whole ensembles singing voices can not be faulted and it all ends with a rousing, audience participating I’m A Believer to round off an entertaining production.

A fantastic family show showing us diversity isn’t a bad thing and love conquers all above everything else……and I think we are all needed to be reminded of that from time to time.

York Theatre Royal – 27th November 2018.

Reviewed by Michelle Richardson

4****

The Ballet Black company was started 17 years ago in order to give opportunities to black and Asian dancers. On a very very wet Tuesday evening I got to see the seven members of their company perform two vastly different pieces of work at York Theatre Royal, The Suit and A Dream Within a Midsummer Night’s Dream.

The Suit, directed and choreographed by Cathy Marston, finds a husband, Philemon, discovering his wife, Matilda, is having an affair after finding her in bed with another man. The lover flees, but leaves his suit behind. The suit then manifests itself into becoming the third person in their marriage, as the husband becomes more and more bitter and resentful. Needless to say, things do not end well. Sayaka Ichikawa was engaging as Matilda, portraying such sensual intimacy with both her husband and lover, and then shock and panic as her secret is discovered.

What followed after the interval was a lot more light hearted, Arthur Pita’s A Dream Within a Midsummers Night’s Dream. I must admit that I have now seen a few takes on that Shakespeare play and they are a bit of a favourite for me. I love the total craziness and this was no exception, I’m relieved to say.

As the curtain rises the ballet opens as a traditional ballet scene, tutus and all, then Puck makes an appearance and with a sprinkle of fairy dust, madness ensues. Boundaries are pushed as Puck concocts differing liaisons, straight, gay and lesbian, Oberon going off with Lysander and Helena with Hermia, not forgetting Titania and Bottom. Helena is seen snorting a line of fairy dust, oh, and I must mention Salvador Dali, he makes an unexpected appearance. Isabela Coracy as Puck was outstanding. She looked like a very colourful, leprechaun boy scout. This is a bold, chaotic, puckishly take on Shakespeare. I was certainly seduced by it, loved it. Obviously this was my favourite piece, but that is a matter of opinion, would be boring if we all liked the same things.

Two completely different performances by the seven dancers, was a treat to watch, with accomplished dance pieces and beautiful movement.

Southwark Playhouse – until 29th December

Reviewed by Claire Roderick

4****

The colour and chaos of Dr Seuss’s imagination comes bursting onto the stage at Southwark Playhouse this Christmas in the fun-filled family musical Seussical. The Cat in the Hat acts as compere and mischief maker as two of Seuss’s gentler stories, Horton Hears a Who! and Horton Hatches the Egg, take centre stage.

When Horton the elephant hears a voice from a tiny speck of dust, he places it on a clover, vowing to protect the tiny creature and its home. The speck of dust is actually a tiny planet, populated by the Whos. The Mayor of Whoville’s child, JoJo, is always in trouble for thinking and dreaming too much (encouraged by the Cat), but in her loneliness she forms a friendship with Horton, the giant voice in the sky. The other animals in the Jungle of Nool ridicule and abuse Horton when they find out what he is doing, but Horton refuses to leave the clover and tries to convince them of the Whos’ existence. Horton’s kindness and loyalty are then taken advantage of by Mayzie La Bird, who convinces him to sit on her egg for a little while but then swans off to live the high life in Palm Springs. Watching all of this is Miss Gertrude McFuzz – in love with the oblivious Horton, she seeks medical help to improve her tiny tail feather so that the elephant will finally notice her.

The plot is simple and moralistic, with Horton repeatedly reminding the audience that “A person’s a person, no matter how small” and never breaking his promise to care for the egg and the Whos, despite all the hardships and suffering he encounters. Yes, it’s all saccharine sweet and simplistic, but not every musical needs to be hard-hitting and cutting edge. The music explores different genres but is jolly and generic rather than spectacular. Regardless, this show is ideal for all generations, with the youngest delighting in the colour, movement and slapstick, older children accessing the message of the story without being patronised, and the adults enjoying the ride alongside them.

Director James Tobias keeps the pace frenetic on the glorious multicoloured set straight out of Seuss’s books. The ensemble is fantastic, full of energy and excelling in Chris Whittaker’s camp choreography – the leather jacketed monkeys West Side story pastiche is a real hoot. There are no animal masks, just subtle costume effects – a gold bumbag is the kangaroo’s pouch, and a simple understated necktie is Horton’s trunk.

Anna Barnes does a fine job imbuing JoJo with childish innocence that isn’t too sickly, while Ngozi Ugoh as the Sour Kangaroo lets rip with some mighty powerful vocals. Katie Payne almost steals the show as Mayzie with her showgirl numbers and Amy Perry and Scott Paige are beautifully matched as Gertrude and Horton. Paige is the calm eye of the Seussical storm – his stillness and presence anchor the show, and his facial expressions sell the story more than any words ever could. Marc Pickering is simply brilliant as the Cat in the Hat, acrobatic, mischievous and anarchic – mugging to the audience and orchestrating events onstage – but always guiding young JoJo to use her imagination and become more than she thinks possible. That’s the sort of guardian angel every child wishes for.

With an important message delivered in a dynamic and zany production, Seussical is a perfect festive frolic for families of all shapes and sizes.

CAROLINE FLACK
TO STAR AS ROXIE HART IN

AT THE PHOENIX THEATRE

FROM 10 DECEMBER 2018 – 5 JANUARY 2019

Caroline Flack will star as Roxie Hart in CHICAGO from 10 December 2018 until the end of the show’s run at the Phoenix Theatre on 5 January 2019.

Caroline joins YouTube sensation and star of RuPaul’s Drag Race Todrick Hall as Billy Flynn, Josefina Gabrielle as Velma Kelly, Mazz Murray as Mama Morton and Paul Rider as Amos Hart.

Sarah Soetaert plays the role of Roxie Hart until 8 December.

Caroline Flack is the presenter of the BAFTA award-winning Love Island. Her other presenting credits include The X Factor, The Xtra Factor and I’m A Celebrity Get Me Out Of Here Now! She made her stage debut as Irene Roth in the national tour of Crazy For You playing to rave reviews and sell out business. Caroline won the 2014 series of BBC1’s Strictly Come Dancing and will return for this year’s Christmas special on Christmas Day.

Caroline said today “I’ve been imagining playing Roxie since I was a teenager. To have now landed the role in the West End is a dream come true. I hope I do everyone proud and don’t fall off the ladder!”

The multi award-winning Kander & Ebb musical CHICAGO, winner of six Tony Awards, two Olivier Awards and a Grammy, returned to London’s West End on Monday 26 March 2018, with a press night on Wednesday 11 April at the Phoenix Theatre in London.

 

CHICAGO originally ran in London for 15 years, making it the West End’s longest running revival.  It first opened at the Adelphi Theatre on 18 November 1997 to rave reviews and immediately became a sell-out hit.  CHICAGO won the 1998 Laurence Olivier Award for ‘Outstanding Musical Production’ as well as the 1998 Critics Circle Drama Award for ‘Best Musical’.  CHICAGO transferred from the Adelphi Theatre to the Cambridge Theatre in April 2006, where it ran for five years until 27 August 2011.  The show then opened at the Garrick Theatre on 7 November 2011, where it ran until 1 September 2012.

Since it opened in New York in 1996, CHICAGO has played in 36 countries worldwide, and been performed in English, Dutch, German, Swedish, Spanish, Portuguese, Russian, Italian, French, Danish, Japanese and Korean.  It has grossed over $1.5 billion worldwide and has played over 32,500 performances worldwide, with an estimated 31 million people around the world having seen CHICAGO.  CHICAGO continues to play on Broadway, where it celebrated its 21^st birthday last year, and around the world in multiple languages.  It is the world’s longest running American musical.

CHICAGO, which is based on the play by Maurine Dallas Watkins, has a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb.  The 1996 Broadway revival of CHICAGO was choreographed by Ann Reinking in the style of Bob Fosse, directed by Walter Bobbie, and produced by Barry and Fran Weissler.

LISTINGS INFORMATION

Phoenix Theatre

110 Charing Cross Road

London WC2H 0JP

Box Office: 0844 871 7629 / www.atgtickets.com/shows/chicago/phoenix-theatre

Ticket Prices: From £20.00

Performances: Monday-Saturday 7.30pm, Wednesday & Saturday 2.30pm

Booking Period:  Booking Until 5 January 2019

Running Time:  2 hours, 25 minutes (with interval)

Website: ChicagoWestEnd.com

Twitter: @ChicagoOnStage

Christmas 2018/19 Performance Schedule

 

Monday 24 December                        NO PERFORMANCE

Tuesday 25 December                        NO PERFORMANCE

Wednesday 26 December                  7.30pm

Thursday 27 December                       2.30pm and 7.30pm

Friday 28 December                            2.30pm and 7.30pm

Saturday 29 December                       2.30pm and 7.30pm

Monday 31 December                        2.30pm

Tuesday 1 January 2019                      7.30pm

Wednesday 2 January                        2.30pm and 7.30pm

Thursday 3 January                              2.30pm and 7.30pm

Friday 4 January                                  7.30pm

Saturday 5 January                             2.30pm and 7.30pm