Home

Cast announced for Plastic by Kenneth Emson
Old Red Lion Theatre, 418 St John Street, London EC1V 4NJ
Tuesday 3rd – Saturday 21st April 2018

Louis Greatorex (Safe, Netflix; The Last Post, BBC1; Last Tango In Halifax, BBC1), Madison Clare (The Dark Things, Linbury Studio Theatre; War Whores, Courtyard Theatre; Close, Landor Space), Mark Weinman (Captain Amazing, Soho Theatre/Live/UK Tour; The Gamechangers, BBC2; Press, BBC1) and Thomas Coombes (Barbarians, Tooting Arts Club – winner of Best Male Performance at
the Off West End Theatre Awards; Hatton Garden, ITV; Him & Her, BBC Three) will star in Plastic by BAFTA-nominated playwright Kenneth Emson. This powerful new play explores how the insecurities of childhood can follow us into later life in this unflinchingly honest drama about time, memory and escape.
Directed by JMK 2017

Directed by JMK 2017 award winner Josh Roche (My Name Is Rachel Corrie), this poetic and unflinching production is an extraordinary mix of drama and performance poetry set in an Essex school which tells the story of four young people who are forced into adulthood. Through its innovative verse, Plastic examines the creation of urban folklore and the sealed world of adolescence with all its unique pressures – how hard it can be to survive, and how hard it is to be left behind

Remember the moment you became an adult? Or did you miss it? Kev used to have a girlfriend called Lisa – she wore a fitted blazer and reebok classics and lit up the school yard. Kev used to be the captain of the school football team and he scored the winner in the All-Essex schools cup final. Ben used to get beaten up most days. He stole money from his mum’s purse to pay off ‘Wicksy’. Now he’s an accountant. But Ben always had Jack. His loyal, unbreakable mate Jack. Adults are the kids that survive school right? But what if some kids don’t?

Essex playwright Emson comments, I’m delighted to bring Plastic to the Old Red Lion. It’s a theatre with a rich history of new writing and produces some of the most exciting and idiosyncratic voices in theatre. I’m proud to be added to that list. Plastic is a play that means a great deal to me personally, it’s set within the community I grew up in and the characters formed from the people I knew there.
For this story and those characters to occupy a London stage is incredibly exciting

Plastic is generously supported by Arts Council England, Royal Victoria Hall Foundation, Blyth Watson Charitable Trust and The Old Vic Theatre.

Plastic will also be touring to the Mercury Theatre in Essex from 26th – 28th April 2018

Rumours of Fleetwood Mac, the world’s finest tribute to Fleetwood Mac, returns to the stage in 2018 with a brand new show celebrating 40 years of the iconic Rumours album.

Encompassing nearly five decades of legendary music and channeling the spirit of Fleetwood Mac at their very best, Rumours of Fleetwood Mac offer a unique opportunity for fans, both old and new, to rediscover the songs and performances that have ensured Fleetwood Mac’s place as one of the most loved bands of all time.

Anyone who loves music from the past 40 years will have no doubt enjoyed at least a handful of Fleetwood Mac’s songs; from their first hit Albatross right through to the 80’s smashes Big Love and Little Lies. Likewise their albums have always managed to deliver on every occasion but the history books will show that it was their eponymous ‘Rumours’ album that does, and will continue to, stand the test of time as a true classic. The songs are masterpieces in their own right but when the story surrounding the band (the in-fighting, love triangles and months of silence) are added there is more than a frisson of extra edge and pathos to the words.

This tour will bring alive mega hits such as Don’t Stop, Dreams, Go your Own Way and The Chain as well as much much more from the band’s whole catalogue.

If you look in any music press listings you will find many tribute bands covering almost all the big name acts from the 60’s and 70’s – The Counterfeit Stones, The Bootleg Beatles, Abba-esque, the Pink Floyd Experience but I challenge any of them to be as good as Rumours; in fact I will go so far as to say they rival the original Fleetwood Mac even after their recent reunion tour.

Personally endorsed by Fleetwood Mac founding member, Mick Fleetwood, Rumours of Fleetwood Mac is the ultimate tribute to one of rock and roll’s most remarkable groups.

“An extraordinary emotive performance of Fleetwood Mac”

MICK FLEETWOOD

“A stunning and incredibly accurate snapshot of the World’s first Super Group”

SUNDAY TIMES

“They do Fleetwood Mac better than Fleetwood Mac.”

MAIL ON SUNDAY

2018 North East Dates

March

Tue 27th Harrogate Royal Hall

Thu 29th Gateshead The Sage

April

Thur 5th Darlington Hippodrome

May

Sat 19th Gateshead Sage

For full tour details and more insight on the best Fleetwood Mac go to

https://www.rumoursoffleetwoodmac.com/ https://www.facebook.com/rofmofficial/ https://twitter.com/rumoursfm

Jack Studio Theatre – until 3 March 2018.  Reviewed by Claire Roderick

3***

Controlled Chaos’ all female production of The Tempest begins with a simple but effective representation of the storm that traps Prospero’s enemies on his island, and this low-tech, whimsical approach continues throughout Dylan Lincoln’s solid production.

Prospero’s dreams of revenge on those who have wronged him are effectively portrayed as characters silently parade during the (very) long exposition to Miranda which must be endured before the action gets started. With the help of spirit Ariel, Prospero’s retribution begins as Ariel leads groups of survivors on a merry dance around the island as Prospero engineers the meeting of Ferdinand, heir of Milan, with Miranda. Meanwhile his slave Caliban comes across two drunken members of Alonso’s household, and takes them for gods.

In some productions the “comedy” of drunken Trinculo and Stephano can be painful, but here Kimberley Capero and Ceri Ashe keep it broad but unforced and very funny. Drawing even bigger laughs are Shereener Browne and Afsana Sayyed as duplicitous and ambitious Antonio and Sebastian. Carmella Brown is an ethereal mischievous Ariel and Kate Sketchley gives Caliban an animalistic naivety that is spellbinding, while Michelle Pittoni and Hannah Jessop are an innocent delight as Miranda and Ferdinand. I think Jo Bartlett will grow into her role as Prospero, at the moment her mystical, reflective moments are impressive, but there is a slight hesitancy about the anger and bitterness in early scenes that doesn’t quite convince yet. The whole cast give committed performances, but too often their breathing isn’t quite right, resulting in lines ending in a garbled rush, or choking on words mid-line.

The music is charming, with a circular hypnotic, sometimes soporific melody that enhances the feeling of enchantment, complimented by a lighting design that, although predictable, matches the mood of the piece.

This is a production full of natural charm and humour – well worth a look.

Waterloo East Theatre Fridays until 16th March.  Reviewed by Claire Roderick

4****

Planning your own funeral is taken to the next level in Tempest Rose’s spectacular burlesque show. Tempest Rose is hosting her own wake every Friday throughout the Vault Festival, and this is one congregation you want to be a part of.

Filing into the theatre, and handed the order of service, the open coffin and the portrait of the deceased strike a sombre tone, until you realise exactly what tunes the organ is playing, and are instructed to stand for the opening hymn – a George Michael classic!

Structured like a legitimate funeral, with guest stars performing instead of eulogising, this is a clever, life-affirming and thoughtful show, with lots of filthy fun. Last night saw Trixie Kixx giving Catholics heart attacks, Storm Hooper stunning with her hula hoop tricks and Bootsy Belafonte performing one of the most brilliantly bizarre and topical routines imaginable as Ariel the little mermaid.

Tempest Rose hosts with impeccably wicked panache, charming and terrifying the audience in equal measure – her Gypsy routine, echoing Gypsy Rose Lee’s strip with a modern take on female empowerment and sexuality is fantastic and inspiring – and she can belt out a tune too.

Audience participation is obligatory, whether it’s joining in with the “hymns”, or sorting out Tempest Rose’s will – a mass pass the parcel game that proves that grown ups just can’t play nicely.

If you’re looking for a fantastic night out, then this feel-good funeral is a must see. You’ll leave singing, dancing… and trying to choose your own burlesque name.

StoryHouse, Chester.  Friday 16th February, with Saturday – Sunday 18th February Swan Lake.  Reviewed by Julie Noller

5***** 

I do not pretend to be an expert in Ballet, but I have discovered a love and respect for the extreme talent and professionalism I am always privileged to watch. Chester’s StoryHouse Theatre may not be the biggest stage in theatre land but it’s modern build and cleverly spaced seating was perfect for watching Giselle, my eyes missed no action, each twirl, each spin, my eyes were completely level with the stage and those dazzling dancers.

Giselle is one of the most classical romantic of ballets first performed in Paris in 1841, it is amazing that it survives to be performed intact. Dancers are by nature interpreters, showcasing skills and feelings. By such we should be thrilled to be witnessing this classic and so close to Valentines Day, a love story indeed. Romanticism in ballet apparently originated in Germany and is traditionally danced in long tutus. Those twirls en-pointe in long tutus fascinated me, the skill, the technique is remarkable.

If you do not know the story of Giselle then I suggest reading through the programme, it helps to understand the story unfurling on stage. You sense what is happening although I found Giselle and The Saint Petersburg Ballet to not only be technically gifted but almost perfect mime masters, over exaggerated arm movements yet so graceful, facial features were so clear and shone out across the auditorium. You could see the love, the distress the power of emotions filling the theatre.

Prima Ballerina Natalia Romanova is dazzling and electric as the young teenager Giselle who as in all fairytales falls in love with the debonair dashing Duke Albrecht Premiere Vadim Lolenko who has disguised himself as a huntsman named Loys. Despite Giselles Mother worrying that her passion for dancing will kill her and she will fall under the spell of Wilis Marina Burliai and Viktoriya Bogomazova, you sense the foreboding and fear for what may be about to happen, Giselle follows her passions as only a young teenager will. Unfortunately and unnoticed by Giselle is that she has another suitor Hilarion First Soloist Evgeniy

Silakov the local Gamekeeper, obviously driven by jealousy he discovers Albrechts secret and informs Giselle when Bathilde visits the local area that she is Albrechts Fiancee. In a heart breaking moment of madness Giselle dances away collapsing from exhaustion, he mother distraught begs her daughter to stop, each man so deeply in love with Giselle attempts to woo her away. Yet driven by despair and shock of this so recent revelation, she loses her mind, dancing and ultimately she dies. All this dancing delight in only the first Act, I couldn’t wait for the second Act. Beautiful costumes floating across the stage, delicate and graceful perfection conclude the story of Giselle. It is not a powerful muscular wow ballet but just simply stunning, you understand the story telling, you respect each and every dancer on stage, each movement is slow and precise. Both men visit Giselle’s grave to repent their part in her tragic death, unable or unwilling to aid Hilarion he is caught and dies. But that deep teenage love so pure she felt for Albrecht protects him from the Wilis and after spending a last night dancing together, I sat mesmerised by the high throws and spins. You see the dedication each member of The Saint Petersburg Ballet brings to the stage. Wonderful.

Regan de Wynter Williams Productions present
Sasha Regan’s Iolanthe
By W.S. Gilbert and Arthur Sullivan
UK Tour: April – July 2018

Having wooed audiences in the UK and Australia with the award-winning Pirates of Penzance, H.M.S. Pinafore and The Mikado, Sasha Regan returns with her most critically acclaimed production, Iolanthe, which broke all box office records on its transfer to Wilton’s Music Hall in 2011.

Torches flash in the darkness as a party of naughty schoolboys adventure into the magical surroundings of an old theatre. Amid all the backstage paraphernalia they discover a Narnia-like wardrobe and a dusty copy of Gilbert and Sullivan’s Iolanthe. What follows is pure magic!

Universally regarded as Sir Arthur Sullivan’s most beautiful score, Iolanthe is a topsy-turvy love story between the most unlikely of couples… fairies and members of the House of Lord’s! Sasha Regan’s all male, award-winning company return with their best received production. Her inimitable inventiveness combined with Gilbert and Sullivan’s inherent barminess make for an unmissable night out.

Iolanthe became the fourth consecutive major success for Gilbert and Sullivan. It was the first work to premiere at the Savoy and first new theatre production in the world to be illuminated entirely with electric lights!

Sasha Regan comments, I am thrilled that Iolanthe will be touring once again! These all-male productions stem from my memories of performing Gilbert and Sullivan’s productions when I was at a single-sex school and I’ve always loved the innocence attached to these productions.  The laughter and playfulness afforded by setting it in this all-male environment allows the audience to really tap into the ‘topsy turvy’ world without being detached from it.

When it premiered in 2011 Iolanthe was nominated for numerous Off West End Awards – Best Director, Best Choreographer, Best Production, Best Costume Design and Best Male Performance.

Brought to you by the same team who created the award winning, all-male The Pirates of Penzance, this absurdly silly but sweetly touching version of Iolanthe is a comic pleasure. If there is a message, it is that everyone needs to release their inner fairy… Irresistible (* * * * The Guardian)

Sasha Regan and her boys are doing something just as gloriously fresh and inventive as Matthew Bourne did with Swan Lake (* * * * The Independent).

Hayley Tamaddon stars in a new UK Tour of Tony Award-winning musical, THOROUGHLY MODERN MILLIE

The hugely successful musical comedy Thoroughly Modern Millie begins its new UK Tour at Richmond Theatre from Tue 27- Sat 31 March. Based on the Academy Award-winning film of the same name, the musical took to Broadway in 2002 and went on to win six Tony Awards including Best Musical. Press are invited to attend for review on Tue 27 March.

This delightful production follows a hugely successful tour in spring 2017 and in its new run will star actress Hayley Tamaddon. Hayley will take on the title role of Millie Dilmount, a young Kansas girl with a dream of making it big in New York City. Hayley is best known for her portrayal of Del Dingle in Emmerdale and Andrea Beckett in Coronation Street and as well as this was the winner of the fifth series of ITV’s Dancing on Ice. She has also crafted a successful musical theatre career with roles including, Roxie Hart in Chicago (UK Tour), The Lady of the Lake in Spamalot (UK tour), Janet in The Rocky Horror Show (UK Tour), Frenchie in Grease (UK Tour), Diana Morales in A Chorus Line (Sheffield Theatres), Trish in Boogie Nights (UK Tour), Carmen in Fame (UK Tour), Laura in Boyband (West End) and Lisa in Mamma Mia (West End).

The story takes you back to the bright lights of 1920s New York City, where the Jazz Age was in full swing. It was during this time that ‘moderns’, including a flapper named Millie Dilmount, were bobbing their hair, raising their hemlines, entering the workforce and rewriting the rules of love. With toe-tapping musical numbers and hilarious comedy, you’ll be guaranteed an evening of glittering entertainment from start to finish.

From explosive tap numbers to a ‘Fred and Ginger’ dance routine on a window ledge, and featuring hit songs including Gimme Gimme and Not for the Life of Me, Thoroughly Modern Millie is a brilliantly funny and entertaining show for all the family so raise your skirts, bob your hair and beat the drums ‘cos here comes Thoroughly Modern Millie now!

Thoroughly Modern Millie

Tuesday 27 – Saturday 31 March at Richmond Theatre
Tickets: from £13.50* (includes booking fee)

Show link: http://www.atgtickets.com/shows/thoroughly-modern-millie/richmond-theatre/

Richmond Box Office: 0844 871 7651* Website: atgtickets.com/Richmond*
*Fees apply.  Calls cost up to 7p per minute plus your phone company’s access charge.

Grand Opera House York until Saturday 17th February 2018. Reviewed by Michelle Richardson

3.5 ***

After the successful production of Gangsta Granny, another of David Walliams’ books, Awful Auntie, the biggest selling children’s book of 2014, has been bought to life on stage by The Birmingham Stage Company.

It’s about a 12, nearly 13 year old girl, Stella Saxby, Lady Stella Saxby in fact, who awakes from a coma to find that he’s wrapped head to toe in bandages to be told by her Aunt Alberta that she had broken every bone in her body, which turns out to be a total lie. She is also informed, somewhat brutally, that she is now an orphan after her parents died in the same car crash that put her in a coma. All her dreadful aunt is after are the deeds to Saxby Hall so that she can get her grubby hands on them and do away with poor Stella.

After coming to the conclusion that in fact her parents were murdered by her aunt, her father was too good of a driver, Stella realises that she has to escape, and so the fight begins. With the help of Saxby’s resident ghost, Soot, Stella find herself thwarted at every step by her awful auntie and her sidekick, a Bavarian owl named Wagner. But ultimately Wagner comes good and Alberta gets her comeuppance.

The set, designed by Jacqueline Trousdale, consists of several cylindrical towers, depicting rooms, doors and staircases, that rotate as and when. They are used to great effect, allowing characters to move up and down stairs and the chimney, and in and out of rooms, and all around the house. We also treated to a car, motorbike chase, all on stage, which was fun.

Georgina Leonidas plays a convincing 12 year old Stella, bringing innocence and youthful energy to the role. We are all rooting for her! Ashley Cousins plays Soot, the ghost killed in the house years ago. His cheeky cockney chimney sweep is a charming and endearing character that you can’t help fell sorry for. Timothy Speyer plays the horrid Aunt Alberta with an evil glint in his/her eye, really relishing the character. Richard James pops up every now and then as the doddery, confused butler Gibbon, giving us slapstick comedy and making the audience laugh.

For me the star of the show was Wagner, the Bavarian owl. Roberta Bellekom is the puppeteer behind Wagner, and does a fantastic job. I was thoroughly memorised by the owl, especially when in flight, you can almost forget that she was there controlling it all, and some of the expressions on his face, as well as hers were priceless. There were several puppets throughout, a couple of Wagners and miniature characters, all wonderful and created by the very talented, Sue Dacre.

Awful Auntie is certainly a madcap adventure and obviously has a great fan base, as all the children in the audience attested to, especially loving the toilet humour. No doubt this show will be as successful as Gangsta Granny.

DARLINGTON HIPPODROME TO WELCOME A SPOONFUL OF SHERMAN

An all-new musical stage show for the entire family, featuring the songs of the Oscar-winning Sherman brothers, is coming to Darlington Hippodrome from Monday 12 to Wednesday 14 March.

The double Oscar-winning Sherman Brothers – Richard M Sherman & Robert B Sherman remain one of the most formidable songwriting teams in family entertainment history. From 1964 onwards their unparalleled partnership produced music, songs and scores for dozens of films, particularly many of Disney’s best loved titles including Mary Poppins, Chitty Chitty Bang Bang, The Jungle Book, Bedknobs & Broomsticks, Charlotte’s Web, and The Aristocats. The highly prolific brothers were the sons of the great Al Sherman who wrote songs for the likes of Frank Sinatra, Ella Fitzgerald and many singers of the golden American Songbook period of the 1930s-1950s.

Robert J Sherman, son of Robert B. Sherman and a successful composer in his own right brings the utterly compelling story of one family’s century-long, award-winning musical journey to Darlington. Three generations of Sherman songwriters are brought to life in this delightful show.

Featuring a highly talented cast led by Olivier-nominated Sophie-Louise Dann the show includes all-time favourites such as A Spoonful of Sugar; I Wanna Be Like You; Chitty Chitty Bang Bang; The Wonderful Thing About Tiggers; Jolly Holiday; Chim-Chim-Cher-Ee and many more.

A Spoonful of Sherman is at Darlington Hippodrome from Monday 12 to Wednesday 14 March.

Tickets* from £19.50 (all prices include a £2 restoration levy). For more information or to book contact the box office on 01325 405405 or visit www.darlingtonhippodrome.co.uk

The King’s Head Theatre is delighted to announce that they will be offering reduced prices for the under-30s and the unwaged.

Tenner Tuesdays will offer £10 tickets to under-30s on Tuesday evening performances, and Hi Five will offer £5 tickets to the unwaged on Sunday matinee performances. The new ticket prices will apply to select productions in 2018 starting with Charles Court Opera’s The Mikado, with further productions to be announced.
Islington, despite being widely recognised as one of the more affluent London boroughs, has a wide disparity in wages, with nearly 10% of working age residents claiming out of work benefits. Nearly 45% of the Borough is also under the age of 30 – 7% over the national average.

King’s Head Theatre Executive Director Fiona English says: “The King’s Head Theatre has long been among the most ethically and socially responsible fringe theatres in the UK. We were the first to introduce a in-house Equity agreement to ensure actors that work with us are paid a fair wage and more recently, introduced a gender policy which pledges that at least half of all creatives we employ to work on our productions will identify as non-male. I am delighted to announce that we are taking steps to increase the accessibility of our venue to young people and the unwaged with these new ticket prices.”

Artistic Director Adam Spreadbury-Maher says: “At the King’s Head Theatre, we pride ourselves on artistic excellence and our unapologetically broad programme of work. I believe it is vital that the diversity of our audience reflects the diversity of the work we present onstage and hope that the introduction of these new ticket prices means we will welcome new audience members through our doors for the first time in 2018 to enjoy the exciting, challenging and varied productions we have coming up.”

The King’s Head Theatre was established in 1970. The most ethically and socially responsible fringe theatre in the UK, we are known for our challenging work and support of young artists. Last year 116,151 audience members saw a show of ours: 44,607 at our 110-seater home on Upper Street and 71,544 elsewhere. At our home in Islington we had 774 performances last year of 95 different shows. We are committed to fighting prejudice through the work we stage, the artists and staff we work with and by producing work for minority audience groups. We believe in fair pay for all on the fringe and create accessible routes for early career artists to stage their work; work we are passionate about. Last year we announced the theatre is on the move. Subject to a fundraising campaign, the King’s Head Theatre will move into a custom-built space in the heart of Islington Square, directly behind its current home securing the future of the venue for generations to come.