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Churchill Theatre – until 24 November 2018.

Reviewed by Elizabeth J Smith

5*****

One of my great pleasure’s growing up was having a story read to me at bed time. All wrapped up in my cosy duvet protected from the world while listening to the melodic tones of the story teller. Taking me on a journey to sleep land. Congratulations Churchill Theatre, that was the emotion you evoked last night with your production of Dr Dolittle.

The show opens with Polynesia, the parrot, appearing from the book and introducing us to this incredible tale of the failed human doctor who really wanted to administer his medical skills to the welfare of animals. How much easier that would be if he could talk to the animals?

Tom Piper, set and costume design, made each new scene feel like another turn of the page. The simplicity of the surroundings and props made you focus on the characters, which was so important especially with the animals.

Nick Barnes, puppet designer and Jimmy Grimes, puppet director made these animals come to life, with the skill of the puppeteers who captured minute details of how each animal behaves and moves across the stage, brilliant. With favourites being the Pushmi Pullyu, Dr Dolittle’s dog, the pig and the sea lion. But congratulations to all the animals which were all excellently portrayed.

Vicky Entwhistle was not only the amazing 200 year old voice of Polynesia, she was also one of the puppeteers that flew the parrot around the stage, three of them at some points.

Mark Williams portrayed the slightly bumbling but ever so loveable Dr Dolittle. Showing his contempt for some humans and great affection for all animals.

Adele Anderson, Lady Bellowes/Poison Arrow, had the audience booing as the villain of the piece.

Brian Capron, Albert Blossom, the circus owner looking to make a fast buck, could believe his eyes when first seeing the Pushme Pullyu and Straight Arrow, the explorer wanting to save the rarest of animals on the floating island of Sea Star.

The young romantic leads Mollie Melia-Redgrave, Emma Fairfax and Patrick Sullivan, Mathew Mug, sang beautifully together. Mathew had a skip in his step like a true, cheeky Irish man. Elliot Morris, Tommy Stubbins, conveyed the sense of adventure any young lad would have going on such an adventure with such a crowd of humans and animals.

As we come to the close of the show and finally see the Giant Pink Sea Snail and the legendary Luna Moth, you could hear the audience gasp.

As we celebrate the centenary of the First World War it was also a fitting time to revive the story of the failed human doctor who learnt to talk to the animals, as the story was written by Hugh Lofting in letter form, to his children while in the trenches.

Great songs, great dancing and with the reassurance of a happy ending, I left the theatre ready for bed and a trip to dreamland. With the lesson learnt we should all be kinder to each other and all the animals.

FURTHER DATES ANNOUNCED FOR THE

UK AND IRELAND TOUR OF

CAMERON MACKINTOSH’S

ACCLAIMED PRODUCTION OF

“LES MISÉRABLES”

PLYMOUTH THEATRE ROYAL – 11 JUNE – 6 JULY 2019
BRADFORD ALHAMBRA – 9 JULY – 10 AUGUST 2019

LIVERPOOL EMPIRE – 9 – 26 OCTOBER 2019

AND

WALES MILLENNIUM CENTRE CARDIFF

26 NOVEMBER 2019 – 4 JANUARY 2020

Cameron Mackintosh announced today further dates for the UK and Ireland tour of his acclaimed production of the Boublil and Schönberg musical “LES MISÉRABLES”. In addition to the previously announced dates, the musical will also play Plymouth Theatre Royal (11 June – 6 July 2019), Bradford Alhambra (9 July – 10 August 2019), Liverpool Empire (9 – 26 October 2019) and Wales Millennium Centre Cardiff (26 November 2019 – 4 January 2020). Full tour schedule below with more to dates to be announced.

Since Cameron Mackintosh first conceived this new production of “Les Misérables” in 2009 to celebrate the show’s 25^th anniversary it has taken the world by storm. Originally touring the UK throughout 2009/10, and concluding with 22 performances at the Barbican, this production was hailed by audiences and critics alike.

Now this UK and Ireland tour, embraced by modern audiences across the globe as a Les Mis for the 21^st century, is set to sell out in many places before it opens. The Curve Leicester run sold out in record-breaking time, with last remaining seats in Dublin, Edinburgh and Manchester.

This production inspired the hugely successful movie version starring Hugh Jackman, Anne Hathaway and Eddie Redmayne. This brilliant new staging has scenery inspired by the paintings of Victor Hugo,and has to date already been seen in North America, Brazil, Mexico, Korea, Japan, Canada, Australia, Spain, France, Manila, Singapore, Dubai and Broadway.

Boublil and Schönberg’s magnificent score of “LES MISÉRABLES” includes the songs, “I Dreamed a Dream”, “On My Own”, “Stars”, “Bring Him Home”, “Do You Hear the People Sing?”, “One Day More”, “Empty Chairs at Empty Tables”, “Master Of The House” and many more.  Seen by over 120 million people worldwide in 52 countries and in 22 languages, “LES MISÉRABLES” is undisputedly one of the world’s most popular musicals.

Cameron Mackintosh’s production of “LES MISÉRABLES” is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and original adaptation by Trevor Nunn and John Caird. The original “LES MISÉRABLES” orchestrations are by John Cameron with new orchestrations by Christopher Jahnke, Stephen Metcalfe and Stephen Brooker. The production is directed by Laurence Connor and James Powell, designed by Matt Kinley inspired by the paintings of Victor Hugo with costumes by Andreane Neofitou and Christine Rowland, lighting by Paule Constable, sound by Mick Potter, musical staging by Michael Ashcroft and Geoffrey Garratt, projections by Fifty-Nine Productions and music supervision by Stephen Brooker and Graham Hurman. The London Production of “LES MISÉRABLES” continues to play at the Queen’s Theatre where it is currently booking until 29 June 2019.

LES MISÉRABLES UK AND IRELAND TOUR 2018/2019 – lesmis.com

SATURDAY 3 – SATURDAY 24 NOVEMBER 2018

CURVE, LEICESTER

curveonline.co.uk – 0116 242 3595

SOLD OUT

WEDNESDAY 5 DECEMBER 2018 – SATURDAY 12 JANUARY 2019

BORD GAIS ENERGY THEATRE, DUBLIN

bordgaisenergytheatre.ie – +353 (1) 677 7999

TUESDAY 22 JANUARY – SATURDAY 16 FEBRUARY 2019

FESTIVAL THEATRE, EDINBURGH

capitaltheatres.com – 0131 529 6000

TUESDAY 19 FEBRUARY – SATURDAY 30 MARCH 2019

MANCHESTER PALACE THEATRE

atgtickets.com/venues/palace-theatre-manchester – 0844 871 3019

TUESDAY 2 APRIL – SATURDAY 11 MAY 2019

BIRMINGHAM HIPPODROME
birminghamhippodrome.com – 0844 338 5000

TUESDAY 14 MAY – SATURDAY 8 JUNE 2019
MILTON KEYNES THEATRE
atgtickets.com/venues/milton-keynes-theatre – 0844 871 7652

TUESDAY 11 JUNE – SATURDAY 6 JULY 2019

PLYMOUTH THEATRE ROYAL

Theatreroyal.com – 01752 267 222

ON SALE 30 NOVEMBER 2018

TUESDAY 9 JULY – SATURDAY 10 AUGUST 2019

BRADFORD ALHAMBRA

Bradford-theatres.co.uk – 01274 432000

ON SALE 30 NOVEMBER 2018

THURSDAY 15 AUGUST – SATURDAY 5 OCTOBER 2019

NEWCASTLE THEATRE ROYAL

theatreroyal.co.uk – 0844 11 21 21

WEDNESDAY 9 OCTOBER – SATURDAY 26 OCTOBER 2019

LIVERPOOL EMPIRE

atgtickets.com/venues/liverpool – 0844 871 3017

ON SALE 30 NOVEMBER 2018

 

TUESDAY 26 NOVEMBER 2019 – SATURDAY 4 JANUARY 2020

WALES MILLENNIUM CENTRE CARDIFF

Wmc.org.uk – 029 20 63 6464

ON SALE 26 NOVEMBER 2018

The Lowry, Salford – until 16th November 2018.

Reviewed by Joseph Everton

5*****

During the second of two intervals we met Barbara, an operaphile who informed us that stating that you ‘didn’t like opera’ was very much like saying you ‘didn’t like film’ as, from one performance to the next, it could be so very different. She told me that if I was going to give the opera a try, this performance would be a good place to begin. It pained me to admit that I couldn’t share her sentiments as, with my apologies to the opera purists, I accepted the invitation to review Edward Dick and Opera North’s modernisation of Puccini’s ‘Tosca’ at the Lowry with little to no knowledge of opera, having never been to one before. I might have hated it but all I can write is that when Cavaradossi (Rafael Rojas) sang, his death seemingly certain, that he hadn’t ever enjoyed being alive as much, I really felt like I knew where he was coming from. The whole performance was an utter joy.

The sights and smells of the first act were enchanting and accompanied by a beautifully melodic score. I was transfixed by the orchestra, conducted by Antony Hermus, and could happily have listened to them alone. Cavaradossi and Tosca (Giselle Allen) played charming artist and Rome’s star opera singer in a dramatic tale of love, jealousy and corruption. Tosca’s uncontrollable jealousy was used by the terrible Baron Scarpia (Robert Hayward), who was later booed off stage by a thoroughly entertained audience, to hunt down Cavaradossi and the escaped prisoner he was harbouring, Cesare Angelotti (John Savournin). Expressions of love were beautiful and soaring; moments of pain and grief were gripping and driven by a powerful score. The plot moved quickly, leaping from one moment of drama to the next, and three acts drew to a conclusion in a tear-filled blink of an eye.

Lee Curran’s warming lighting cast a Mediterranean glow on Tom Scutt’s eye-catching set which brought a modern twist to Renaissance Rome. The chorus of Opera North, as they sang together, was a sensory delight, filling the Lowry with sound. On reflection, now that I am of course a lover of the opera, I really think Barbara had it right. Tosca was a delight.

Tosca is on at the Lowry, Salford this week only, until Friday 16th November. Whether you’re an opera expert or a novice to this kind of theatre, I urge you to see it.

Bunker Theatre 12th & 19th November

Reviewed by Claire Roderick

4****

Monkhead Theatre certainly relish a challenge. Adapting Freud’s The Interpretation of Dreams would be enough to make companies sweat, but Chloë Myerson and Nico Pimparé appear to have thought, “Hey! Let’s go the extra mile and create a rapid response night!”

This ambitious approach, with four writers contributing short pieces on different sections of the book, pays of brilliantly, creating an admittedly confusing but entertaining show. The pieces are linked by Tom Blake, Martha Owen and Joshua Jacob acting as comperes whilst dealing with their own complicated feelings and relationships. Josh Field’s film and the accompanying narration creates a mesmeric, dreamlike state as the concept of the theatre being the conscious mind and unruly audience members being repressed thoughts that are thrown out to the unconscious mind (the theatre bar), along with other, colder, definitions from Freud are presented.

I don’t know much about Freud or psychology, but even I picked up on the main themes. The use of movement and sound adds to the soothing, yet unsettling rhythm of the text and it never feels like a celebration of the cleverness of the creative team – rather we are all exploring this together.

There were two standout performances, one from Finlay Paul as a grieving man coming to terms with the guilt he felt after the death of his brother in Can’t You See That I’m Burning? by Chloë Myerson (also the piece of writing that was the most emotionally engaging): Paul captured the torment and guilt of grief brewing under the determinedly cheerful but increasingly thinning veneer of cheerfulness wonderfully. Joshua Jacob also impressed with his slightly goofy and puppyish enthusiasm heightening the energy when themes could spiral into despair. Even his ultimate disappointment draws pantomime “awwws”, such is his easy connection with the audience.

This isn’t an easy watch – it’s thoroughly entertaining but concentration is needed, and even then, there will be moments of wondering what the hell is going on, but that seems wonderfully appropriate for The Interpretation of Dreams.

Leicester Square Spiegeltent – until 3 January

Reviewed by Claire Roderick

4****

The Briefs Factory’s spaceship lands in Leicester Square Spiegeltent for a Christmas close encounter that is guaranteed to heat up the coldest of winter’s nights.

The Australian boylesque group have enough glitz and energy to light up Leicester Square by just walking into a room. When they are dancing together, they blow the roof off. Hosted by Fez Fa’anana, who also directs, the boys have come from the future to let us know that things will be OK. With the futuristic sci-fi theme and its message of respect, acceptance and hope, Close Encounter is a dazzling show filled with superb dance numbers and mindboggling circus skills.

Let’s be honest, most of the audience would be happy if the boys couldn’t even dance – they are hot, hot, hot! But each cast member has their own special skills and moment in the hot pink spotlight. Captain Kidd’s aerial skills and hoop routine are full of his usual cheeky showmanship, while newcomer aerialist Thomas Worrell’s routines are spellbinding. Dale Woodbridge-Brown is hysterical as a hyped-up white rabbit and Louis Biggs’ sexy scientist strip (while juggling!) is brilliant. Brett Rosengreen’s contemporary dance routine is fantastic, and his dance with the certifiably insane Harry Clayton-Wright is both hysterical and moving. Fez Fa’anana oversees proceedings in a series of fabulously outrageous outfits and with a freewheeling flair that wins over the audience instantly.

Musical director Busty Beatz and lighting designer Paul Lim provide the party music and ensure the boys are perfectly lit in this slicker than slick show, and the well-stocked bar ensures a celebratory atmosphere. And there’s a raffle!

Briefs: Close Encounter is the perfect party season entertainment. Full of fun, fantastic showmanship, and fit and flirty young men – what’s not to love?

Darlington Hippodrome – until 17 November 2018

Reviewed by Hayley Thompson

4****

Full Monty, a successful film turned into a stage production and what a brilliant show it was.

When attending this show the audience was full of smiling women who were extremely excited when a male would simply smile towards the audience. The audience made the show even more entertaining with their wolf whistles, laughs and whistles. The cast clearly love that reaction! And I would not blame them… This production was full of humour, innuendos then topped with some saucy bits. Not forgetting scenes that pulled on the heart strings, including a father and son relationship, a marriage that is failing and confusions with their sexuality.

As a fellow thespian the production was much more enjoyable than the film. I can appreciate how uncomfortable these actors can feel for obvious reasons. However, they seemed very much at home!

We are first introduced to two cast members who are trying to steal with help from his son due to their lack of work. Gaz is struggling to pay his way for his son and then comes up with the brilliant idea to become strippers to make some money. He manages to gather some other friends together to then begin their surprising and special choreography.

All actors portrayed these real-life issues very well, which brought a tear in a few scenes.

The actor who played the suicidal, confused homosexual was fantastic. His mannerisms, physicality, facial expressions and tone was very believable for us, especially when he tried to commit suicide. We felt sorry for this character and the love for him continued throughout the show.

The whole show was fantastic; however, some lines were misheard, and this could be down to not using mics. I hope we did not miss something important. However, this did not spoil my overall thought for the show. Being a fellow performer myself we do tend to spot some mistakes. One that irritated me was seeing the female stripper stood stage left waiting for her que to come on stage. We were distracted and missed what was happening, thinking she was coming on. Next que was a black out and then there she was on stage.

I have so much respect for the cast. Being able to portray these real-life issues with such emotion and especially from a young cast member. A huge well done to the cast. I would highly recommend anyone to come and watch this show!

Salisbury Playhouse – Until Saturday 17th November 2018.

Reviewed by Leanne Caplis

5*****

Written by Nicola Werenowska ‘Silence’ started its UK tour on Friday 12th October in Colchester and runs until Saturday 17th November at Salisbury Playhouse.

On a simplistic stage with few, but very effective props, three generations of a family tell their story of life from the invasion of Poland in 1939 to the present day in Reading. Watch in awe to find out if the traumas of life as a refugee and generational immigrants unfold to see if the Silence can ever be broken.

Maria (Tina Gray) is the survivor of a concentration camp, her daughter Ewa (Kate Spiro) who is a pushy and a highly-strung mother to Anna (Maria Louis) are all of Polish heritage. Two life changing events happen and Anna returns to Poland to find herself. One family, three generations, three differing perspectives and the resurrection of buried memories force them all to re-evaluate life.

All cast members were first class, with the chemistry between all of them outstanding. The excellent research carried out by the writer, Nicola Werenowska, enabled a very detailed story and I experienced a myriad of emotions throughout.

The story is told in the third person which was initially hard to follow but I soon became wrapped up in the individual stories anticipating what was to follow. Moments of dialogue were conducted in Polish which brings the story alive adding a sense of realism.

On entering the house, a small venue with only three chairs and grey screens on stage, I didn’t know what to expect. I was not left disappointed and the simplicity only added to the intensity of the show that may have been lost in a bigger venue.

The second half of this production is intense, thought provoking and incredibly emotional. The whole audience were captivated with eyes on the cast. You could hear a pin drop throughout.

I did not guess the ending and I won’t give too much away. It is incredibly emotional and perhaps, like me, will see you reflecting on your own relationships. Have a tissue at the ready but whatever you do – do not miss this show!

Kings Theatre Southsea – until 17 November

Review by Nicky Wyatt

4****

40 years on from the launch of Andrew Lloyd Webber’s blockbuster musical and still it packs the theatre out.

The story of the poor illegitimate Eva Duarte literally is a rags to riches tale. The story tells us how Eva made the journey from a poor nobody to Argentina’s first lady. How she was loved and adored by many and at the same time hated and revered by others. She was the people’s champion.

Unusually the show starts at the end! With us witnessing how the audience sat in a cinema in Buenos Aires find out that their first lady Eva Peron, Lucy O’Byrne, has died. We then are taken back to the beginning of the story with one of the leading men Che (Glenn Carter) narrating the story for us. He is a really strong character throughout. His mannerisms and facial expressions are really
worth watching as they show both his pleasure and displeasure at Eva’s rise. He does a great version rendition of ‘Oh What a Circus’.

Starting her life in a provincial town as a singer Eva meets singer and tango dancer Magaldi they are volatile together but she persuades him to take her Buenos Aires where her story really begins. She works as a radio presenter and actress and is soon a lady to be watched. The men watch and want and the ladies look down on the country girl who is sleeping her way through society men, determined to get herself in the right place at the right time, which she eventually does as she meets Juan Peron (Mike Sterling).

Lucy has a beautiful voice that is so crystal clear, she plays the part of Eva well. Her acting skills and style are perfect for the role. Although I loved her voice I don’t think it was quite powerful enough for her the classic ‘Don’t Cry For Me Argentina’.

Mike looked and acted the role of a dictator really well, stern and upright where needed but a voice that offered a smoother softer side when he sang” I’d be surprisingly good for you ‘ with Eva. Just perfect.

Glenn as the narrator holds it all together. That’s a good thing because at times the audience around me were a little confused especially in the first half. The orchestra play some wonderful atmospheric music but at times it overpowers those singing. I absolutely loved the set of this whole production, the scene changes were smooth and appeared effortless.

The standing ovation received was so very well deserved. Evita she died young but with productions like this, she will be forever with us

York Theatre Royal – 13-14 November

Reviewed by Marcus Richardson

2**

Single Spies has come to the York Theatre Royal as part of By The Lake’s season where the have gathered four different shows and perform them within twelve days. This play by the famous play write Alan Bennett, is split into two acts both unrelated and the common connection is the characters are famous spies. With Guy Burgess being the focus of the first act and Anthony Blunt the second act.

The first act a play called An Englishman Abroad is a look into Guy Burgess’ interaction with actress Coral Browne. Living in Moscow, Burgess played by Theo Fraser-Steel starts to miss certain aspects of British life and has a task for Browne, played by Karen Ascoe; to take his measurements and get him a suit in England. I would carry on however this was the premise of the first act, for me it was hard to watch not because of the acting but because nothing happened. The acting by the way was the only thing that made the show durable.

I was hoping things got better in the second act, A Question Of Attribution focuses on Anthony Blunt who was Surveyor of the Royal painting Collection. Blunt played by James Duke did a good job of creating a put together character and suited the role very well, alongside Ascoe playing the Queen herself, which you can imagine being funny as Ascoe involved in his work demanding her to pass him a magnifying glass. Although there was this entrance for the Queen just like the first act it soon started to fade into a plot where nothing happened. Both plays have Bennett’s signature wit and style but these two did not entertain me in the slightest, but I need to emphasise that the acting in both acts were nothing like my view on the plays themselves, with all the actors doing a good job of creating character.

However though it isn’t my cup of tea, I’m sure a few people will enjoy the show and think it’s amazing; which is why I can write reviews, theatre is subjective. One thing to note, alongside most of Bennetts plays it is aimed at people who either lived through or know that period of time. If you are clueless to how Burgess and Blunt are, you are going to miss out on a fair few of the references.

Glasgow Theatre Royal – until 17 November 2018

Reviewed by Linda McLaughlan

5*****

‘An emotionally charged performance showing the reality of Alzheimer’s’.

The stage is set with almost all the props on stage at once and as the show progresses these disappear….. almost like the person Alice once was.

Based on a novel and a movie the stage show performance did not fail to show the full effects that this terrible debilitating disease has on the sufferer and all the family members close to them.

Having seen the movie with Sharon Small who also plays the role of Alice in this production I knew I was in for a roller coaster ride of emotional. Many of the audience I am sure will be able to relate tot he story of Alice begins to see her life change from being a successful lecturer, writer and speaker to a shadow of the person she once was.

Using true to life experiences with the consultation of Wendy Mitchell the performance takes you through each changing stage with Alice as her diagnosis progresses. Alongside Eva Pope played by herself we get to the see the other side of what it must be like for the person suffering, their worries and fears and all the confusion that goes on inside their head.

Alice’s husband John (played by Martin Marquez) and their 2 children Thomas (Played by Mark Armstrong) and Lydia (played by Ruth Ollman) begin to realise the changes in Alice. Although in denial at stages John tries to keep their routine as normal as possible, however what it does begin to show them is how different their existence has been as a married couple. John is keen to keep challenging himself, one because he is scared that one day he will be left with nothing, no wife and no career. Thomas misses the chats and days he spent with his mum and Lydia although no longer living in the same area and trying to get her career as an Actress of the ground appears to be the one person who sees what her mum is really going through.

I would suggest that if given the opportunity to see this production then do so as it will really open your eyes to what Alzheimer’s is about and what little we know.