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ARCOLA THEATRE IN ASSOCIATION WITH

MAYA ELLIS PRESENT THE WORLD PREMIÈRE OF STOP AND SEARCH

Arcola Theatre in association with Maya Ellis presents

The World Première of

STOP AND SEARCH

By Gabriel Gbadamosi

Directed by Mehmet Ergen

 

Arcola Theatre

9 January – 9 February 2019

Press night: Monday 14 January 2019, 7pm

 

Arcola Theatre in association with Maya Ellis today announce the world première of Stop and Search, by Gabriel Gbadamosi. Artistic Director of Arcola Theatre, Mehmet Ergen directs the production which opens on 14 January, with previews from 9 January and runs until 9 February.

A driver picks up a young man crossing Europe. Two police officers work a surveillance case. A passenger directs her taxi to the edge of a bridge. Three conversations grow increasingly uneasy.

From award-winning writer Gabriel Gbadamosi comes a visceral and poetic new play, exploring a time of distrust where the lines blur between conversation and interrogation. Stop and Search explores our deep ambivalence about the ways we police each other.

Gbadamosi said today, “The play opens the question of why a tactic aimed at policing drugs, violence and terrorism (and that stops seven black people for every one white person) has grown into a flashpoint for wider, and deeper, flaws in a volatile and frightened social psyche. The Arcola is an incubator of London’s future culture: multicultural, far-seeing, cutting edge. I can only imagine developing such a departure from the old state of the nation play as we have with Stop and Search through the active engagement of the artistic team under director, Mehmet Ergen.”

Gabriel Gbadamosi is an Irish-Nigerian poet and playwright. Stop and Search marks his London stage debut. His theatre credits include Eshu’s Faust (Jesus College, Cambridge), Hotel Orpheu (Schaubühne, Berlin), Shango(DNA, Amsterdam); and for radio, The Long, Hot Summer of ’76 – winner of the first Richard Imison Award. Gbadamosi’s novel Vauxhall won the Tibor Jones Pageturner Prize and Best International Novel at the Sharjah Book Fair.

Artistic Director of Arcola Theatre Mehmet Ergen is an award-winning director. His theatre credits for the company include Richard III, Bliss, The Cherry Orchard, Drones, Baby, Drones, An Enemy of the People, The Cradle Will Rock, Clarion, Shrapnel: 34 Fragments of a Massacre, Don Gil of the Green Breeches, Mare Rider, Sweet Smell of Success, The Painter, Macbeth, Fool for Love, Betrayal, Ashes to Ashes, Water’s Edge, Dumb Show, Lost in the Stars, In The Jungle of the Cities and Piano. Other theatre credits include; King Lear(Southwark Playhouse). Ergen is also Artistic Director and founder of Arcola Istanbul and was previously Artistic Director of Southwark Playhouse, which he co-founded in 1993.

Stop and Search                                                                                                                                 Listings

Arcola Theatre

24 Ashwin Street, Dalston, London E8 3DL

Box Office: 020 7503 1646

www.arcolatheatre.com

9 January – 9 February 2019

Press night: Monday 14 January, 7pm

 

Tickets: £15 – £22 (concessions available)

MEI Theatrical presents

Twirlywoos Live!

The beloved TV show live on stage for the first time

Touring the UK from February 2019

 

 

MEI Theatrical are delighted to announce that the wonderful world of Twirlywoos – as seen on CBeebies – will be brought to life on stage for the first time next year. Toodloo, Great BigHoo, Chickedy, Chick and Peekaboo will set sail around the UK in a brand-new theatrical adventure, opening at Churchill Theatre, Bromley on Tuesday 12 February prior to a UK Tour. Full tour schedule attached.

 

Featuring all the favourite characters from the hit TV show, expect mischief, music and plenty of surprises as the Twirlywoos embark on a new adventure onboard their Big Red Boat. With beautifully inventive puppetry,Twirlywoos Live! promises to be a laugh-out-loud treat for little ones.

 

Twirlywoos Live! is brought to the stage by MEI Theatrical, whose recent productions include Sarah and Duck Live on Stage (Polka Theatre and UK Tour) and The Very Hungry Caterpillar Show (West End). It is written by Zoe Bourn, who has brought to life some of the world’s best-loved children’s titles including Thomas and Friends and Fireman Sam Live!.

 

Twirlywoos was first broadcast on CBeebies in 2015, and in 2017 celebrated its 100^th episode. It is co-created byAnne Wood, who has devised shows including Teletubbies, and Steve Roberts, who with Anne co-created the Bafta-winning CBeebies series Dipdap.

 

Twirlywoos Live! is recommended for ages 1+, with babes in arms welcome. The running time is 55 minutes with no interval.

 

Website: www.TwirlywoosLiveOnStage.com

 

 

TOUR SCHEDULE

 

Tue 12 February 2019

CHURCHILL THEATRE, BROMLEY

 

Fri 15 – Mon 18 February 2019

THE LOWRY, SALFORD

 

Wed 20 – Thu 21 February 2019

EPSTEIN THEATRE, LIVERPOOL

 

Fri 22 – Sun 24 February 2019

BIRMINGHAM TOWN HALL

 

Tue 26 February 2019

REGENT THEATRE, STOKE

Wed 27 – Thu 28 February 2019

LOWTHER PAVILION

 

Sat 2 March 2019

THAMESIDE THEATRE, THURROCK

 

Sun 3 – Mon 4 March 2019

THEATRE ROYAL WINCHESTER

 

Tue 5 – Wed 6 March 2019

TACCHI MORRIS ARTS CENTRE

 

Fri 8 March 2019

THE SPOTLIGHT, BROXBOURNE

 

Sat 9 March 2019

CENTRAL THEATRE, CHATHAM

 

Sun 10 March 2019

LINCOLN NEW THEATRE ROYAL

 

Mon 11 March 2019

THE ALBANY, COVENTRY

 

Tue 12 March 2019

MANSFIELD PALACE THEATRE

 

Sat 16 March 2019

PALACE THEATRE, REDDITCH

 

Sun 17 March 2019

BROADWAY THEATRE, LETCHWORTH

 

Mon 18 – Tue 19 March 2019

WHITE ROCK THEATRE, HASTINGS

 

Sat 23 – Sun 24 March 2019

THE FORUM, BILLINGHAM

 

Thu 4 April 2019

JOHNSTONE TOWN HALL, JOHNSTONE

 

Sat 6 – Sun 7 April 2019

ST GEORGE’S HALL, BRADFORD

Mon 8 April 2019

CIVIC HALL, ELLESMERE PORT

 

Wed 10 April 2019

HERTFORD THEATRE

 

Thu 11 April 2019

PALACE THEATRE, SOUTHEND

 

Fri 12 April 2019

SOUTH HOLLAND CENTRE, SPALDING

 

Sat 13 April 2019

THE CASTLE THEATRE, WELLINGBOROUGH

 

Mon 15 – Tue 16 April 2019

NEW WOLSEY THEATRE, IPSWICH

 

Wed 17 April 2019

TRINITY THEATRE, TUNBRIDGE WELLS

 

Fri 19 – Sat 20 April 2019

ROYAL HIPPODROME THEATRE, EASTBOURNE

 

Tue 23 – Wed 24 April 2019

ROYAL SPA CENTRE, LEAMINGTON SPA

 

Fri 26 April 2019

SWAN THEATRE, WORCESTER

 

Sat 27 – Sun 28 April 2019

THEATRE ROYAL, ST HELENS

 

Mon 29 April 2019

GRAND THEATRE, LANCASTER

 

Tue 30 April – Wed 1 May 2019

FALKIRK TOWN HALL

 

Sat 4 May 2019

SOUTH HILL PARK, BRACKNELL

DAVID MAMET’S OLIVIER & PULITZER PRIZE WINNING CLASSIC

GLENGARRY GLEN ROSS

DIRECTED BY SAM YATES

 

ON UK TOUR FROM 14 FEBRUARY 2019

FOLLOWING A CRITICALLY ACCLAIMED WEST END RUN

‘An extraordinary experience… Go see it!’ BBC Radio 4

 

‘Bitterly funny and acutely savage’ Daily Telegraph

 

****

The Guardian, The Times, Daily Mail, Evening Standard, Mail On Sunday, Time Out, Financial Times, The Independent, The Observer

 

Joining the hard-hitting sales team in Sam Yates’ unmissable production of David Mamet’s darkly funny classic, Glengarry Glen Ross are: Denis Conway (The Lieutenant of Inishmore) as Dave Moss; Wil Johnson (Rosencrantz & Guildenstern Are Dead) as George Aaronow; Scott Sparrow (King Lear) as John Williamson; James Staddon (Goodnight Mister Tom) as James Lingk; and Zephryn Taitte (The Jungle Book) as Baylen. They join the previously announced Mark Benton (Shelly ‘The Machine’ Levene) and Nigel Harman (Ricky Roma).

 

The production will open on Thursday 14 February 2019 at the New Victoria Theatre, Woking, and will then visit Birmingham, Plymouth, Cheltenham, Cambridge, Bath, Manchester, Milton Keynes, Glasgow, Richmond, Brighton and Cardiff. The national press night will be held on Wednesday 20 February at the New Alexandra Theatre, Birmingham. 

 

Lies. Greed. Corruption. It’s business as usual. 

 

Set in an office of cut-throat Chicago salesmen. Pitched in a high-stakes competition against each other, four increasingly desperate employees will do anything, legal or otherwise, to sell the most real estate. As time and luck start to run out, the mantra is simple: close the deal and you’ve won a Cadillac; blow the lead and you’re f****d.

 

The production of this trailblazing modern classic has designs by Chiara Stephenson, lighting by Richard Howell, and is produced by ATG Productions, Act Productions and Glass Half Full Productions. 

LISTINGS

GLENGARRY GLEN ROSS

BY DAVID MAMET 

DIRECTED BY SAM YATES 

14 FEBRUARY – 4 MAY 2019

UK TOUR

 

National Press Night: 

Wednesday 20 February 2019 – Birmingham New Alexandra Theatre

 

Website: atgtickets.com

Twitter/Facebook: @GlengarryUK

 

DATES AND VENUES

WOKING New Victoria Theatre                                              atgtickets.com/woking

Thurs 14 – Sat 16 February 2019                                                           0844 871 7645

 

BIRMINGHAM New Alexandra                                      atgtickets.com/birmingham

Mon 18 – Sat 23 February 2019                                                             0844 871 3011

 

PLYMOUTH THEATRE ROYAL                                                            theatreroyal.co.uk

Mon 25 Feb – Sat 02 March 2019                                                          01752 267 222

 

CHELTENHAM EVERYMAN THEATRE                                  everymantheatre.org.uk

Mon 4 – Sat 9 March 2019                                                                     01242 572 573

 

CAMBRIDGE ARTS THEATRE                                            cambridgeartstheatre.com

Mon 11 – Sat 16 March 2019                                                                 01223 503 333

 

BATH THEATRE ROYAL                                                                    theatreroyal.org.uk

Mon 18 – Sat 23 March 2019                                                                 01225 448 844

 

MANCHESTER Opera House                                           atgtickets.com/manchester

Mon 25 – Sat 30 March 2019                                                                 0844 871 3018

 

MILTON KEYNES Theatre                                             atgtickets.com/miltonkeynes

Mon 1 – Sat 6 April 2019                                                                        0844 871 7652

 

GLASGOW Theatre Royal                                                       atgtickets.com/glasgow

Mon 8 – Sat 13 April 2019                                                                      0844 871 7647

 

RICHMOND Theatre                                                             atgtickets.com/richmond

Mon 15 – Sat 20 April 2019                                                                    0844 871 7651

 

BRIGHTON Theatre Royal                                                     atgtickets.com/brighton

Mon 22 – Sat 27 April 2019                                                                    0844 871 7650

 

CARDIFF New Theatre                                                           newtheatrecardiff.co.uk

Mon 29 April – Sat 4 May 2019                                                             029 2087 8889

Dominion Theatre – until 5 January 2018

4****

With the closing date imminent and with baby fairypowered Alex and senior fairypowered writer Claire telling me how fabulous the show is – it was time that fairypowered herself saw the show

Romeo and Juliet set to a background of Meatloaf what’s not to enjoy?  Strat (Jordan Luke Gage) is part of the lost, eternally 18. He falls in love with Raven (Christina Bennington) who is 18 now, but will age whilst Strat stays young.  Her parents Falco (Craig Ryder stepping in for the injured Rob Fowler) and Sloane (Sharon Sexton) are trying to stop her being with Strat whilst living in a loveless marriage.  Falco and Sloane do have some of the best scenes and Paradise By The Dashboard Light is hilarious – I loved the pink pants.  

Zahara (Danielle Steers), also a member of the lost is Raven’s nurse.  Giving her dream suppressants at the request of her parents but helping her to find true love.  Tink (Alex Thomas-Smith) is jealous of the relationship between Strat and Raven and in trying to split them up pays the ultimate price.

Danielle Steers is the most outstanding member of the cast.  When she started to sing Two Out of Three Ain’t Bad my reaction was just “WOW!” and her vocals in Dead Ringer are just epic – more Cher than Cher!  But Jordan Luke Gage is a very close second especially in the titular Bat Out of Hell.  He seems to be genuinely enjoying his role and who can blame him?

So did I enjoy it?  Well I think I’ll just have to go and see it again so I can judge it!!!

King’s Theatre Edinburgh – Until 17^rd November.

Reviewed by James Knight

4****

I was lucky enough to see the original West End production of ‘Shakespeare in Love’ back in 2014, and so was very much looking forward to this revival. Based on the screenplay by Marc Norman and Tom Stoppard, and adapted for the stage by Lee Hall, the production loses none of the quick wit and easy-on-the-ear references peppered throughout the film (and some new ones – ‘Out damned Spot’, yelled at an offstage dog is a particular highlight).

Will Shakespeare (Pierro Niel-Mee) is struggling with his new play, ‘Romeo and Ethel the Pirate’s Daughter’. It’s expected to be a sure-fire hit, if he could write it. Even with the help of fellow playwright Kit Marlowe (Edmund Kingsley, who plays him with an easy and likeable confidence), he’s fighting a losing battle. Enter a muse for Will in the form of Viola de Lessops (Imogen Daines), daughter of a New Money merchant, who wants nothing more to be an actor in one of Will’s plays. Which would be fine, if women weren’t banned from the stage. Cue cross-dressing, confused identities, forbidden love… well, everything you might expect from a play from the original Shakespeare canon.

The cast is clearly enjoying themselves, whether engaging in a madcap swordfight/piggy-in-the-middle mashup. singing period-appropriate choruses or performing the finale jig. Everyone has a moment to shine and the support between all them is clear to see, and is always careful to include the audience in on the jokes. Some of the jokes could have been less signposted however, and some of the subtleties of the actual Shakespearean text might be lost in performance, but really, if the audience is enjoying themselves this much, what’s so wrong that? The play’s the thing, after all.

The Lowry, Manchester – until Saturday 17th November 2018

Reviewed by Julie Noller

4**** 

Dame Judi Dench recently described the state of being a national treasure as ‘awful, like being stuck behind glass in a dusty old cupboard with Alan Bennett’. A great visualisation for those of a younger generation, who have or perhaps have not grown up knowing the names and the works but never really knowing the personas or naughtiness of individuals who often flouted societies rules; never wanting that easy ride in life. That may be true for Bennett but is also true for WH Auden and Benjamin Britten our subject matter if only through the eyes of our writer documenting a fictitious meeting. The Habit of Art highlights everything we may just perceive to know but really it’s just a gossip-fest that points a tongue in cheek poke at all those wannabes out there writing about the life and times of any famous individual.

Wyston Hugh Auden may have died the year before I was born, but I know his work as a poet, winner of the Pulitzer Prize in 1947 for The Age of Anxiety and more recently famed for the use of Funeral Blues in the 1994 film of the year Four Weddings and a Funeral. Benjamin Britten often hailed as England’s greatest composer of a modern era, The Habit Of Art, is set during his own writing of his last work, the opera Death in Venice.

Sometimes the set up on stage can be confusing with art imitating life and life imitating art. You need your mind to work with that of Alan Bennett, enjoy the journey and sometimes cheeky wit, where else would you find Auden’s face compared to that of a scrotum? This is a play written in 2009, a whole thirty seven years after the year in which it is set 1972, only one year before Auden’s death and four before that of Britten, two old men used to hiding away but flouting their sexuality. The play isn’t about Auden or Britten but revolves around the rehearsal of the play. The stage set is brilliant in it’s details, from gym flooring to props arriving in carrier bags. Each performer on stage is an actor learning the lines, where do you differentiate between character and actor? Is it true that you are drawn to a part by it’s complexities or that it somehow mirrors your own life? Matthew Kelly (yes I resisted the voice that uttered tonight Matthew I’m going to be) is superb as Fitz a true luvvie of stage, struggling to remember his lines and needing many prompts. He has never had to supply cakes in any production; hinting at his own self importance. Working to a strict time deadline for he has a car arriving at six o’clock sharp to take him to his Tesco voice-over recording, this mirrors his role as W H Auden a man living his life in blatant disregard to public decency. Looking back you almost pity this man in front of us, dependency on alcohol and somehow forgetting conversations, you are left wondering if some sort of dementia has set in. Especially during Britten’s visit to him, played to perfection as a very upright and sharp but worried gentleman by David Yelland. It’s very apparent Bennett was suggesting his liking of young boys. His concerns around Death in Venice is the age of the young boy. Auden somehow stuck in a bygone era with his need to shock, demands Britten stick at it; more of Bennett’s wit as he suggests soon the young boy will be queuing for his pension.

John Walk confused the man sat next to me who asked his wife why he had a Scottish accent? This is again because he is playing Donald, somewhat unloved by fellow cast members, seeking where is his inspiration, difficult to work with because sometimes you just feel the part. Donald needs direction at every level, seeking his own self importance. Hilariously coming on stage in drag; a badly fitting dress and wig whilst playing a tuba, simply because you have to try this things. He is also Humphrey Carpenter mistaken by Auden as a rent boy but actually just working for the BBC, the man who would interview both Auden and Britten and later write their autobiographies. You get a sense of how fantastic Bennett’s writing is to tie all these parts together with such classic sarcasm thrown into the mix, you will be scratching your head at the perplexities. There’s serious writer Neil (Robert Mountford) author of Caliban’s Day (our fictitious play within a play) who doesn’t understand the frailties of actors or their need to have the bigger more memorable part. He just wants his work to remain intact for he is a genius of the written word. Young Tim playing rent boy Stuart (Benjamin Chandler) living his life and fun loving. Alexandra Gruelff as George assistant stage manager, trying to get things right but being young accidentally upsets the old hands. Her singing as she stands in for the young choir boys should be applauded. Keeping it all together in the absence of Director Stephen is Kay (Veronica Roberts) as company stage manager, she finds herself attempting to keep the peace as actors squabble with writer and each other; as well as keep the play moving. She is a true mother hen often there to wipe furrowed brows and egos.

The Habit of Art is thoroughly enjoyable with plenty to entertain those seeking a more intelligent play, aided by large amounts wit and humour. Not forgetting those still often taboo subjects of sexual activities and I lost track (I didn’t have enough fingers or toes) at the number of times the word dick was used.

THE WIDER EARTH

FOLLOWING CRITICAL AND PUBLIC ACCLAIM

DARWIN DRAMA EXTENDS ITS RUN AT THE JERWOOD GALLERY AT THE NATURAL HISTORY MUSEUM

EXTRA SUNDAY PERFORMANCES ADDED

NOW PLAYING UNTIL 24 FEBRUARY 2019

The Wider Earth – the critically acclaimed drama about the young Charles Darwin’s expedition on HMS Beagle – currently playing at the custom-built theatre in the Jerwood Gallery at London’s Natural History Museum, has extended its run and will now play until 24 February 2019.

Featuring a cast of seven, and 30 extraordinary hand-crafted puppets representing the exotic wildlife Darwin encountered, The Wider Earth is an ingenious coming-of-age story which celebrates the incredible complexity of our planet and Darwin’s adventurous spirit as he faced perilous environments and unknown dangers on his bold voyage.

The Natural History Museum’s Director of Engagement Clare Matterson says,

“We are committed to bringing science to life through exciting collaborations like this with artists – even when this requires the building of a 357-seat traditional performance theatre in one of our galleries! The Wider Earth offers a radically different kind of museum experience. Audiences are transported to the far side of the world with the young Charles Darwin on his first voyage aboard the HMS Beagle – just metres away from both the working scientific laboratories of our Darwin Centre and some of the original specimens he collected on that same voyage in 1831. 

“The Wider Earth has had a fantastic reception and helped attract new audiences to the Museum so we are delighted to be able to extend its performance run and allow more people to see this captivating drama.”

Written and directed by Dead Puppet Society’s creative director David Morton, the idea for The Wider Earth was conceived at a residency in Cape Town in 2013 with the Handspring Puppet Company – the creative team behind War Horse.

“Handspring Puppet Company is very proud of Dead Puppet Society for pioneering their production The Wider Earth at the Natural History Museum in London, a concept which was conceived during their time with us in South Africa several years ago. Since then it’s been fantastic to see their work and their influence rapidly spreading to three continents: Australia, America and Europe. Dead Puppet Society are inspiring leaders in the next generation of puppeteers!”

– Basil Jones and Adrian Kohler, Handspring Puppet Company

Following sold-out seasons in Brisbane and Sydney, The Wider Earth has found the perfect home at the Natural History Museum. The Museum is custodian to many of the specimens Charles Darwin collected on his expeditions and its 350 scientists continue in his footsteps of exploration and discovery, seeking solutions to the major issues facing the natural world. This is the first time a performance-based theatre has been constructed in the Museum and adds an exciting new element to the wide-range of exhibitions and events which already attract over 4.5 million visitors every year.

“The Wider Earth has a limited ‘Kids Go Free’ offer, to allow the next generation to learn more about this iconic character and one of the most important voyages in scientific history. Bookable via the show’s website: https://thewiderearth.com/

The Museum’s scientists, led by paleobiologist Professor Adrian Lister, author of Darwin’s Fossils, have worked closely with the creative producers of the show to ensure it is rooted in authenticity.

The Jerwood Gallery at the Natural History Museum was beautifully restored in 1999 with a generous capital grant from the Jerwood Foundation to provide a home in the Museum for arts and science exhibitions and activities.  Evening audiences will pass next to the Museum’s cutting edge Darwin Centre. The Centre comprises working laboratories as well as some of the 22 million zoological specimens housed there, including specimens collected by Charles Darwin on his voyage in 1831.

 The Wider Earth is presented by Trish Wadley Productions, Dead Puppet Society and Glass Half Full Productions

Jack Studio Theatre – until 17 November

Reviewed by Claire Roderick

4****

Tristan Fynn-Aiduenu has created a delicious theatrical treat in Sweet Like Chocolate Boy. The lyrical wit and haunting beauty of his writing is accompanied by a nostalgia-fest of music, all overseen by God – the ultimate DJ (Alice Fofana).

Switching back and forth at break-neck speed between the stories of Bounty and Mars, two troubled young black men from the 1990’s and present day respectively, Fynn-Aiduenu weaves a plot that gradually pieces together the threads of each life, peopled with colourful and recognisable characters, to reveal their connection in a dynamic and moving finale.

In the 90’s, Bounty (Michael Levi Fatogun) is struggling to find his place in a politically-charged world. Not fitting in as a child, his best friend is a white boy from a racist family. Bounty just wants to be loved, but doesn’t love himself, and his need to see the best in people leads to tragic results. Bounty witnesses the beginnings of a more organised Black Protest movement but never quite engages. In the present day, Mars (Andrew Umerah) is on his way to a protest march. He should be at a meeting with his mental health nurse, but the lure of Fantasia (Veronica Beatrice Lewis) and her approval if he acts as she demands at the protest is too strong.

This isn’t about gangs, but instead about the ongoing prejudice and injustice that necessitates a Black Protest, and the inner battles faced by these two men – their self-esteem, mental health and search for their identity and purpose in turbulent times. The two actors both perform their many monologues with captivating style – making you laugh and cry as they let Fynn-Aiduenu’s magical words fly. The staging is simple but lit to perfection – with DJ/God directing the action behind her decks/tower blocks. Umerah, Fatogun and Lewis all play multiple roles, just slightly tweaking their costumes between scenes. The three are phenomenal – there is never any confusion as to who they are playing, so good are their different accents and body language. Lewis is hysterical as Sandra, Bounty’s predatory and scary friend, and sweet but strong as his girlfriend Michelle. Umerah’s portrayal of Mars’s mental health problems is stunning, slipping between cocky streetwise laddishness and tormented hallucinations in a heightened but unsettlingly believable manner. Fatogun’s Bounty is so lost that you just want to give him a hug – a beautifully nuanced performance.

Although this is hard-hitting stuff, the play never feels worthy or heavy-handed. There is a lightness of touch and a ridiculous sense of humour that pervades throughout. Fight scenes are choreographed in slow motion, with the actors gurning at the audience, and the cast dance around to the soundtrack of Bounty’s youth with joyous abandon.

Tristan Fynn-Aiduenu is definitely a name to look out for in the future – Sweet Like Chocolate Boy is a heady mix of important issues, gleeful comedy, nostalgia, and banging tunes that will set audiences buzzing.

Rose Theatre, Kingston – until 17 November

Reviewed by Claire Roderick

3***

Friedrich Schiller’s Don Carlos, written in the 18th century, is full of warnings about tyranny and oppression by the state that speak as loudly today as they did when he wrote them. The story of Don Carlos, son and heir to Philip II of Spain and their fractured relationship is full of twists, turns and dramatic misunderstandings.

The father and son are estranged after Philip takes Don Carlos’s promised young bride as his own wife. Don Carlos’s love for his “mother”, Elizabeth of Valois, is too much to bear and he takes himself away from the court. His friend Rodrigo, Marquis of Posa, unusually free to travel Europe, is horrified by Spain’s plans for Flanders, and has idealistic plans for Don Carlos to lead Flanders to liberation and freedom, heralding a new beginning for Spain and Europe, free from the iron hold of the Catholic Church and the Inquisition. Obviously, things don’t go quite to plan, or the play wouldn’t be over 3 hours long.

Director Gadi Roll uses Jonathan Samuels lighting design to create an intimidating and often stifling atmosphere on the starkly furnished stage – the perfect setting for the political machinations and treachery surrounding Philip. In modern dress, all shades of grey, the cast move around the stage like chess pieces circling the king.

The cast do a fine job with a very wordy script, but there are too many speeches where the words are tumbling out in a rush and become intelligible. Samuel Valentine makes Don Carlos appear a petulant, self-indulgent brat until the final scenes, making Rodrigo’s love for, and belief in him unbelievable. Tom Burke is full of world-weary gravitas and pomposity as Rodrigo, with his confrontation with Darrell D’Silva’s conflicted Philip being one of the high points of the play. There seem to be only two methods of communication for most courtiers in Roll’s Spain – rapid-fire monotone with melodramatic stares, or SHOUTING. It does get a bit tedious, to be honest. The story is fascinating, full of Shakespearean misunderstandings and miscommunication, and with a more nuanced touch could easily be riveting. Unfortunately, this production becomes a bit of a slog, which is a shame as there are some good performances and inspired design choices.

Park Theatre until 24 November

Reviewed by Claire Roderick

3***

There’s a lot packed into this tight four-hander by Jesse Briton – the production’s tagline asks can greatness be taught? – 90 minutes of being put through the emotional wringer with Briton’s four flawed characters brings you no closer to an answer, but the passionate arguments make for entertaining viewing.

The play opens quietly, with a bedraggled woman in a wheelchair organising bottles of paracetamol next to a bottle of scotch. This is Ye (Lucy Sheen), a violin virtuoso who has turned her back on the world. Her solitary existence is disrupted by stroppy teen Simona (Flora Spencer-Longhurst), who has demanded that Ye teach her. The fact that Simona’s father is a Russian billionaire means that the Royal Conservatoire are bending over backwards to accommodate the girl’s whims, with Ye’s old friend Phyllida (Carolyn Backhouse) acting as go-between.

As Simona’s natural gift is revealed to Ye, her obsession with the purity of talent and individuality is heightened. As the combative, lonely girl bonds with Ye, the prospect of her mental health improving seems hopeful, but Simona’s upcoming audition becomes a crisis point.

Spencer-Longhurst is wonderfully sharp as Simona, allowing glimpses of the scared and abandoned little girl beneath to trickle through. Her glares and eye rolls are hysterical, making Sheen’s role as teen-whisperer most gratifying. There are a few shocking moments that will make you wince, but the building understanding between them is well written. Sheen portrays Ye’s mental darkness effectively, with a blank aspect that shows her disconnect with the world. This could be a depressing play, but lightness and a less dark humour are added in abundance by Melanie Marshall as Mary, Ye’s god-fearing, hymn-singing landlady. Their odd-couple, co-dependent relationship is completely unhealthy, but seems to be all that is keeping them going.

Staged in the round, on a stark set with broken violins strung above it, director Jessica Brady has cast members with their back to the audience often, but this works as a symbol of their insular view of the world. The opposing viewpoints of Ye and Phyllida – discipline or passion, compromise or individuality, is talent only validated by having an audience? and many more, have been, and will continue to be, fuel for heated debate, and Briton wisely leaves the argument hanging in a determinedly downbeat ending. What haunts you as you leave the theatre is the beauty of Spencer-Longhurst’s playing, and the joy that comes from musicians sharing their talent with those of us who never quite mastered the recorder.

A Pupil has lots to say in a slightly muddled way, but the talented cast allow the flashes of brilliant promise in the story to shine through. Well worth a look.