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Jack Studio Theatre 26 September – 21 October.  Reviewed by Claire Roderick

4****

Arrows & Traps new adaptation of Frankenstein breathes new life into the classic story with style and sensitivity. Writer/director Ross McGregor and dramaturg Kate Bannister have steered clear of all clichés and created a fresh, often funny, and insightful vision by interweaving the story of Mary Shelley’s life with her novel.

Beginning with an older Mary returning from a disappointing theatrical production of Frankenstein, Shelley’s life is seen in flashbacks. The circumstances of her own birth and her fractious relationship with her sisters and disapproving father, her love for Shelley and her devastating losses as a mother are all there. This cleverly shows the parallels between Shelley’s life and the characters’ without overstressing the point, and adds a deeper sense of melancholy to the story. The creature’s storyline and Victor Frankenstein’s storyline run alongside Shelley’s. Only Victor’s story runs chronologically, with his youthful scientific zeal galvanising after the death of his mother into the quest for creating life. The creature’s story begins with his meeting with blind Agatha, giving the audience a chance to form an attachment to the innocent and sweet creature that makes the stunning creation scene at the end of act one much more brutal and unnerving.

With most of the cast playing multiple roles, and the switches between storylines and times, this could have been an unmitigated disaster, but the transitions are seamless. The cast, lighting, sound and subtle costume changes make it instantly clear what is going on, and keep the play’s pace from flagging between scenes. Odin Corie gives the characters from the novel a cool steampunk vibe, contrasting with a more romanticised Victorian feel to Mary’s family.

Cornelia Baumann is a safe pair of hands for the pivotal role of Mary Shelley. Her commanding stage presence is needed as she is hardly ever off stage. Her expressions as she watches her creations interact are wonderful. Even when the spotlight isn’t on her, she never gives less than her best. Christopher Tester’s Victor is intense and otherworldly, and Will Pinchin is phenomenal as the creature. As resident movement director with Arrows & Traps, you’d expect an impressive physical performance, but he will blow your mind. Beginning as a mewling, childlike figure, his scenes with Zoe Dales as Agatha are delightful as his speech and personality evolve, and he is terrifying as he becomes a true monster in his revenge. Just glorious.

Whether you have read Frankenstein many times, or a green flat headed monster is all that springs to mind – go and see this production. It will make you fall in love with this phenomenal story all over again.

Casting announced for

The World Premiere of

THE RETREAT

By Sam Bain

Directed by Kathy Burke

 

At Park Theatre

From Thursday 2 November to Saturday 2 December 2017

 

 

Casting is announced today for the World Premiere of new comedy drama The Retreat, the first play by BAFTA award-winning writer Sam Bain, directed by Kathy Burke, which will play at Park Theatre from Thursday 2 November to Saturday 2 December 2017.

 

Adam Deacon will play Tony, Samuel Anderson will play Luke and Yasmine Akram will play Tara.

 

Adam Deacon (Tony) is best known for playing the lead role of Jay in films Kidulthood and Adulthood, and for his directorial debut Anuvahood, in which he also starred, for which he won the BAFTA Rising Star Award. Adam has since appeared in feature films including Bonded by Blood, Jack Falls, Shank, Everywhere and Nowhere and Payback Season, with television work including Babylon (Channel 4), Inside No. 9 (BBC Two) and Being Human (BBC Three). Adam has also worked with mental health charity MIND and recently filmed a documentary with Stephen Fry for the BBC.

 

Samuel Anderson (Luke) is perhaps best known for playing Danny Pink in the eighth series of BBC’s Doctor Who,and Daniel in the Sky1 sitcom Trollied. Other television work includes Ross Kirk in Emmerdale (ITV), Totally Frank(Channel 4), Moving On (BBC One) and Loaded (Channel 4). On stage, Samuel originated the role of Crowther in the National Theatre production of The History Boys, subsequently playing the role on Broadway and all over the world.

 

Yasmine Akram (Tara) has starred as Janine in the hit BBC show Sherlock, Jonesy in Netflix’s Lovesick, and has been a series regular in shows including Stella (Sky1), Undercover (Dave), Asylum (BBC) and Unforgotten (ITV). As a writer, Yasmine co-wrote and starred in two series of Irish Micks and Legends for BBC Radio 4, her film A Date for Mad Mary won the Irish Film and Television Award for Best Film in 2017, and she recently completed filming her first short film War Paint, funded by Creative England, in which she also stars.

 

The Retreat follows Luke, a former high-flyer from the City, as he sits in a remote stone hut halfway up a mountain in the Scottish Highlands.  He is on a meditation retreat, searching for the inner peace that so far has eluded him. The trouble is, not only will his mind not settle, but an uninvited guest arrives – his obnoxious older brother Tony. Is Tony everything that’s wrong with Luke’s old life, or is he the only one who can really see into his soul? And is Luke’s quest for spirituality a way of transforming himself, or is it just another form of addiction? The Retreat is a sharp new comedy drama about a world where we can never escape ourselves, or find ourselves either.

The Retreat is written by Sam Bain, who with Jesse Armstrong has co-created and co-written nine series of the Channel 4 sitcom Peep Show, winning BAFTA, British Comedy, Royal Television Society and Writers Guild of Great Britain Awards. Sam is also co-creator of Channel 4 comedy drama Fresh Meat which ran for four series and won a British Comedy Award. Film writing includes Four Lions, co-written with Chris Morris, which premiered at Sundance and won the BAFTA for Outstanding Debut. Sam’s first solo series Ill Behaviour premiered on BBC iPlayer this Summer before being broadcast on BBC Two.

 

The Retreat is directed by Kathy Burke, who as an actor is well known for television work including Ab Fab, Harry Enfield and Chums and Gimme Gimme Gimme, for which she won a British Comedy Award. Film work includes Absolutely Fabulous the Movie, Pan, Tinker Tailor Soldier Spy and Nil By Mouth, for which she won Best Actress at Cannes. Work as a theatre director includes Betty (Vaudeville Theatre), Kosher Harry (Royal Court), Out in the Openand Born Bad (Hampstead Theatre), Blue/Orange (Sheffield Crucible), The God of Hell (Donmar Warehouse), Smaller (Lyric Theatre) and The Quare Fellow and Once a Catholic (Tricycle Theatre).

The Retreat is written by Sam Bain and directed by Kathy Burke. Set and Costume Design is by Paul Wills with Lighting Design by Paul Keogan and Sound Design by John Leonard. It is produced by Debbie Hicks and Jesse Romain in association with Park Theatre.

 

Twitter: @TheRetreatPlay

Facebook: /TheRetreatPlay

WORLD’S FIRST POP-UP THEATRE TO VISIT DARLINGTON

Darlington’s Market Square will play host to the world’s first pop-up, plug-in and play theatre – the Paines Plough Roundabout, from Thursday 5 to Sunday 8 October as part of Darlington Theatre Town.

Paines Plough is the UK’s national theatre of new plays. The company commissions and produces the best playwrights and tours their plays far and wide. Paines Plough was formed in 1974 over a pint of Paines bitter in the Plough pub. Since then they have produced more than 130 new productions by world renowned playwrights like Stephen Jeffreys, Abi Morgan, Sarah Kane and Mike Bartlett.

With a seating capacity of 150 the Roundabout theatre will present a full calendar of events while in Darlington, from children’s theatre and straight plays to music and comedy. Backstage tours and meet the cast events are also available.

Darlington Theatre Town

Darlington Theatre Town is an exciting new initiative to present the most ambitious and high quality theatre in Darlington. The project brings together the expertise of partners Creative Darlington, Darlington Hippodrome, Luxi, Theatre Hullabaloo and ODDMANOUT to cement Darlington’s place in the Tees Valley as a Theatre Town and a place where theatre thrives.

The project, funded by the Arts Council and Darlington Borough Council, grew from the opportunity presented by the redevelopment of the Darlington Hippodrome, the exciting development of Theatre Hullabaloo’s new theatre for young audiences ‘The Hullabaloo’ and the momentum that has built over the last couple of years around theatre in unusual places by events such as the award-winning Jabberwocky Market.

For full details of what is on in the Roundabout visit www.darlingtonhippodrome.co.uk or to book call the box office on 01325 405405

GRAHAM NORTON

RETURNS TO HOST WEST END BARES 2017

ALONGSIDE HIS STAR CO-HOSTS

ADAM GARCIA,

SUMMER STRALLEN AND DIANNE PILKINGTON,

TOM ALLEN, CELINDE SCHOENMAKER

AND OLIVER SAVILE

AT THE NOVELLO THEATRE

ON SUNDAY 29 OCTOBER AT 7.00PM AND 9.30PM

The Make A Difference Trust is delighted to announce that following two triumphant years, Graham Norton will return as host of this year’s WEST END BARES: RUBY STRIPPERS at the Novello Theatre on Sunday 29 October at 7.00pm and 9.30pm.

The Make A Difference Trust is also thrilled to announce the first of Graham’s star co-hosts;  Adam Garcia (The Exorcist, Murder on the Orient Express [2017], Confessions of a Teenage Drama Queen, Tap Dogs, Saturday Night Fever, Coyote Ugly); Summer Strallen (Young Frankenstein, Love Never Dies, The Sound of Music, Hollyoaks); Dianne Pilkington (Young Frankenstein, Mamma Mia!, Wicked, Taboo); Tom Allen (Live At The Apollo, 8 out of 10 Cats Does Countdown, Just A Minute); Celinde Schoenmaker (The Phantom of the Opera and Les Misérables) and Oliver Savile (Wicked, The Phantom of the Opera, Les Misérables, Mamma Mia!).More celebrity guest hosts and West End stars to be announced soon.

They will join the previously announced Olivier Award winning Rebecca Trehearn (Showboat, City of Angels, Ghost), who will open the show with a performance of an exclusive track especially written for the occasion byMark Anderson (The Book Of Mormon, Legally Blonde) and Luke di Somma (That Bloody Woman [composer], 21 Chump Street).

Join the much-loved characters of Oz for an extraordinary night at WEST END BARES: RUBY STRIPPERS, which will see over 100 of the hottest performers from the West End stage take to the stage to combine the naughtiness of burlesque with the magic of the West End. All of the money raised will go to The Make A Difference Trust to fund HIV and AIDS projects that raise awareness, educate and provide care and support in the UK and Sub-Saharan Africa.

Click here for a look behind the scenes of the WEST END BARES: RUBY STRIPPERS photo shoothttps://youtu.be/4XYiliFar0o

Directed by David Grewcock with choreography from Fletcher Dobinson (Cats; West Side Story),  Jaye Elster(Singin’ In The Rain; Half A Sixpence),  Matt Gillett (Chitty Chitty Bang Bang; Singin’ In The Rain; Jersey Boys; Top Hat), Tom Jackson Greaves (Nutcracker, Early Adventures and Sleeping Beauty with New Adventures; Secret Cinema; Kneehigh Theatre), Ashley Jordan-Packer (Cats; Thriller Live), Will Lucas (Cats; Wicked),Simone Mistry-Palmer (Motown; Dirty Dancing), Ashley Nottingham (Thoroughly Modern Millie; Dance Mums; Disaster!), Racky Plews (American Idiot; Footloose; Heaven on Earth), Aaron Renfree (X Factor; The Saturdays), Chris Whittaker (Blondel; Judy!),  and James Wilson (Strictly Come Dancing; The Voice).

The Make A Difference Trust is a UK based charity with a vision of a world free from HIV and AIDS. Building on the legacy of 25 years of fundraising by the Theatre industry, they continue to make the vision a reality having distributed over £1.6million in grants to support individuals experiencing hardship across the UK as well as over £1million to support projects with their UK and international partners. For further information about the Make A Difference Trust please visit  www.madtrust.org.uk

Tickets for WEST END BARES are now on sale and are priced at £15 – £100.

Tickets are available from www.delfontmackintosh.co.uk or the DMT WEST END BARES booking line 0844 482 5172 and in person at the Novello Theatre Box Office. Booking fees apply and calls to Delfont Mackintosh Theatres 0844 numbers cost 7 pence per minute plus your phone company’s access charge.

WEST END BARES are proud to be partnering with 100 Wardour St for this year’s exclusive After Party where you can continue to celebrate with the cast of the show. Tickets cost £10 and are only available when you buy a ticket for the 7pm or 9.30pm show.  Once again, there is limited availability for the After Party and when the tickets are gone, they’re gone – so don’t miss out! 100 Wardour St is split between a laid-back Bar & Lounge and chic Restaurant & Club, offering great food from midday right through until 2am with classic and contemporary cocktails. As befits the venues history as the site of London’s iconic Marquee Club where artists like David Bowie and The Rolling Stones performed, there are DJ’s and live music five nights a week.

 

Please note: All artists appear subject to availability.

A PASSIONATE TRIBUTE TO A TRUE LEEDS LEGEND

 

When two of Leeds’ greatest dance companies come together next week, the West Yorkshire Playhouse stage is set to be alight with a passion and energy that this city’s dance scene has become renowned for – thanks to one woman.

Nadine Senior MBE was deputy headmistress of Harehills Middle School when she began introducing the students to dance. Her revolutionary approach harnessed the children’s natural ability and recognised their talents in movement.

Three young men in particular would have their passion for dance ignited and go on to form Phoenix Dance Theatre in 1981 – David Hamilton, founding Artistic Director, Donald Edwards and Vilmore James.

Sharon Watson, Phoenix Dance Theatre’s Artistic Director acknowledges Nadine’s crucial role in her own career ‘Like so many others, I would not be doing what I do today if it wasn’t for the inspiring leadership Nadine gave. I’m delighted that we can pay tribute to such a motivating and influential woman with an evening of amazing dance talent, all of whom she inspired.’

 

Nadine lobbied to prove the need for professional dance education in Leeds and in 1985 founded Northern School of Contemporary Dance; it remains the only provider of conservatoire-level professional training in contemporary dance outside of London.

 

Janet Smith MBE, Principal of Northern School of Contemporary Dance said ‘I am delighted that Northern School of Contemporary Dance is collaborating with dance partners across the city and artists from the UK, Europe and the US in celebrating the visionary leadership of our founding Principal, Nadine Senior, and the continually resounding impact of her work. This will be a very special event for us in paying tribute to an extraordinary woman who championed the value of arts education from a young age in achieving the highest aspirations for all.’

 

Nadine Senior died in January 2016 but on Sunday October 8^th Phoenix Dance Theatre and Northern School of Contemporary Dance will together lead a tribute to her life and her loves.

 

The Gala will include performances from Leeds-born, New York-based Darshan Singh-Bhuller who in a recent interview with Broadway World said of Nadine:

“Her main thing was to get boys to dance somehow. I was the captain of the football team, so she got me involved, and the rest of the kids followed. The area was predominantly Indian, West Indian, Chinese – some white working class people. It was rare that anybody was teaching any kind of art form in a state run school. We were lucky.”

 

With live music, film, poetry, and guest speakers the life and work of this extraordinary woman will be honoured in style.

 

The Celebration Gala for Nadine Senior is at West Yorkshire Playhouse on Sunday 8 October at 7pm

Tickets are priced from £15

Book online at wyp.org.uk or call the Box Office on 0113 213 7700

Lyric Theatre, The Lowry, Manchester – September 28th 2017.  Reviewed by Julie Noller

5*****

I knew before the nights performance that Rambert Ghost Dance choreographed by Christopher Bruce is quite possibly the most popular work in their history. One look around the waiting group of expectant young faces waiting to take up their seats, told me that there was more than one dance group/drama group in attendance. The actual performance would be split into three separate acts with two twenty minute intervals.

Transfigured Night is based upon a 19th century poem written by Richard Dehmel ‘Verklarte Nacht’ . During the interval I along with many people around me, asked Google for help on that poem; just to see how my interpretation was. We begin once the curtain rises in the pitch black, slowly the light increases almost as if the sun is rising. Slowly as our eyes become accomstomed to the light we see a group of dancers slowly swaying and gaining momentum like the trees of a forrest. Finally we see a figure on the ground dressed in orange, as she rises searching for her partner, it’s as if a conflict is occuring as they push and pull each other. Then finally after her begging he leaves, watching the main group of dancers swirling as if a group of starlings are putting on a spectacular show. Enter a younger girl dressed in yellow, perhaps in the spring of youth as oppossed to the summer nearing autumn of life. This dance reminded me of those young school gym classes, where the teacher would cry ‘freestyle, show me a story’ however this was far superior, it was strong and powerful. It was choreographed by Kim Brandstrup with music that calmed you yet reminded you of an old black and white silent movie, no words ere necessary. Finally youth drifts away back to reality and we see perhaps our older couple have reconciled and life goes on.

Symbiosis

Is strong and powerful, full of wow moments. It draws your eye, it’s confusing in a way that life is confusing. It moves with fast pace, and is brilliantly choreographed by Andronis Foniadakis. Curtain up reveals a plain bare and empty stage except for one large screen, it has an almost 3D effect bulge and is used to change direction, inflict even more pace and energy into the performance, with colour in an otherwise blank canvas. I don’t know if I’m looking at a busy street in a hectic city during a rain storm or watching a discovery channel documentary, could it be a seed growing in fast time. Could there be basic lifeforms developing and being interpreted before my eyes? The dancers are amazing with muscular movements showing how we each collide and move on yet with such grace. Of course as with any performance you can choose to try to interpret what you are watching; or you could just sit back and enjoy a great show, full of grace and emotion. Not to mention pure talent.

Ghost Dance

Well curtain up led to some gasps and the odd cry of ‘I’m going to have nightmares’ from the young ladies sat around us. We were confronted with three figures from The day of the dead celebrations. Ghost Dance takes its influence from latin America, where the living are encouraged to celebrate life and remember the dead as still living amongst them. The costumes are magnificent, showing those perfectly ripped bodies, make up and masks were amazing. The dance is pure celebration as dead and living collide and grief takes hold, theres suffering in human misery. It was wonderful to witness the whole stage utilised with grace and energy. Music arranged by Nicholas Mojsiejenko was haunting and yet upbeat, lifted by the soulful music of panpipes. I could’ve watched Ghost Dance where power of the inevitable clashes with the emotional energy of wanting to live for a whole hour, it took my breath away. No wonder it’s the most requested work from Ramberts back catalogue and has been hugely popular since first choreographed by Christoper Bruce in 1981.

Well to be honest all the performances took my breath away, I’m always in awe of skill, energy, power and the knowledge that those young ladies watching could be heading home to practice and one day be right up there on that stage taking the lead roles. Each performer should leave the stage knowing not only have they entertained but they have inspired not only those young ladies but equally this slightly older lady and her Sister. The appreciation of every member of the audience not to mention the enthusiasm of those young ladies was uplifting and the standing ovation was more than well deserved for three fantastic, emotive, heart moving performances.

A professional world premiere from Bruntwood Prize Winner, Anna Jordan. MAP Rep’s first full show proves that Manchester Actors’ Platform and 53two are continuing to tackle the bigger subjects and create innovative and groundbreaking theatre.

What has been seen cannot be unseen. Six eyewitnesses to a gruesome terrorist attack in broad daylight. Their lives are changed irrevocably, but how? Rita cannot hold her son. Tony does jigsaw puzzles and counts his wife’s breaths. Elliot must face up to who he really is. Farrah is forced to reconnect with a past long forgotten. Annie starts to feel again. And Stefan feels nothing.

‘Stay Happy Keep Smiling’ is a fictionalised exploration of the lives of ordinary people following an extraordinary event. Jordan’s writing is punchy and intensely truthful, asking difficult questions on how we deal with an all too common occurrence in the 21st century world: terrorism: It’s aftermath, what effects it has and the ripples beyond the event into our own worlds.

A production brought to you by newly formed MAP Repertory company.

Running 17-21 October

7:30pm

Tix: £7 online/£8 door www.53two.com/stayhappy

REVIEW: HAIRSPRAY (Sunderland Empire) ★★★★

September 28, 2017 

For: West End Wilma 

https://www.westendwilma.com/review-hairspray-sunderland-empire/

Hairspray arrives in Sunderland as part of its national tour. Set in Baltimore in 1962 where, against the odds, overweight teenager Tracy Turnblad, a girl with a lot of heart and great big hair is set to turn everything on its head. She lands a role dancing on her favourite TV programme The Corny Collins Show and uses her newfound fame to fight for integration of black and white dancers on the show, putting her own future at risk for what she believes in.

This current UK tour is directed by Paul Kerryson. From the opening numbers, the audience is dazzled with colour and energy from the whole cast in their bright costumes, impressive lighting and clever back projections. Full of upbeat, catchy songs, jaw-dropping dance moves it’s a real stage spectacular. Marc Shaiman (Music and Lyrics), Scott Wittman (Lyrics), and Mark O’Donnell and Thomas Meehan (Book) took John Waters’ 1988 film and made it into a musical without losing any of the magic. The show perfectly encapsulates the feel of the period and it packed full of humour.

Tracy (Rebecca Mendoza) stands for what she believes in, not letting her size stop her crusading beliefs. Overturning the rules that black dancers are only allowed on the show on ‘Negro Day’ and landing herself in prison in the process, she is the embodiment of all American optimism and sheer determination to succeed. And she manages to find a love interest in Link Larkin (Edward Chitticks), I Can Hear the Bell’s being a wonderful moment between them.

The chemistry between Matt Rixon and Norman Pace, playing Tracy’s kindly parents allows for a delightful amount of ad-libbing and Rixon gives a larger than life performance powering his way through Welcome to the 60s. A highlight of the second half was Edna (Rixon) and Wilbur’s (Pace) duet You’re Timeless to Me, Pace having the audience laughing with just his body language every time he was on stage.

With two Killer Queens in the cast you’d expect some powerhouse performances. Gina Murray is the perfect ex beauty queen bitch as The Corny Collins Show producer Velma Von Tussle and daughter Amber (Aimee Moore) is the epitome of the pretty on the outside, poisonous on the inside teenage girl you love to hate. Brenda Edwards is Motormouth Maybelle, the strong and sassy owner of a downtown record store, host of Negro Day and mother of Seaweed (Layton Williams) and Little Inez (Monifa James).

Two special shout outs must go to Lindsay Atherton covering the role of Penny Pingleton in Sunderland last night and a huge shout out must go to the hardest working man on the stage – Graham Macduff who covered most of the male roles. He had many quick changes and played them all with aplomb. I loved his Harriman F. Spritzer (President of Ultra Clutch cosmetics, Corny Collins show sponsor), the high‐blood pressure principal, and Mr. Pinky (owner of a plus‐sized dress shop).`

The nicest kids in town and the kids from Negro Day, moved and grooved across the stage to the energetic choreography of wunderkind choreography Drew McOnie. Embracing the feel of the period, this ensemble work incredibly hard and the energy they create could light up a small city. The never seem to stop moving!

By the end of the finale, the whole auditorium were on their feet dancing and the amount of smiles in the foyer as people were leaving displayed how much everyone enjoyed this feel good show.

Richmond Theatre – until 30 September.  Reviewed by Jess Brady

5 *****

Following a successful stint in London’s West End, The Wipers Times is hitting local theatres on a UK tour. Based on the true story during WW1 of the 24th Division Sherwood Foresters, led by Captain Fred Roberts when they find an old printing press in the bombed out ruins of Ypres, or as it was pronounced amongst the Tommie’s, Wipers. Aided by their civvy- street printer Sergeant, Roberts and his lieutenant Jack Pearson decided to use the printer to create their own newspaper from the front line.

This was not to be an ordinary account of life on the front line but more a journal of jokes relating to the life of a soldier at war, poking fun at the high command and a salute to fallen comrades as well as spoof advertisements which proved to be a huge hit amongst the troops. The Wipers Times was edited on the front line and produced a remarkable 23 issues from 1916 till the end of the war.

The Wipers Times show is a comical and at times very poignant look at the story of how the paper was created, along with all the trials and tribulations that came with fighting one of the bloodiest Wars ever known. The script is excellently written by Nick Newman and Ian Hislop and carries their sense of humour throughout whilst portraying a wonderful and important period of history we should never forget. The through line of the story and frequent sketch like moments representing articles or advertisements created a fantastic energy and uplifted your spirits amongst the severity of the real matter at hand, which of course was the desired effect for the Troops at the time.

The cast are magnificent, playing wonderfully as individuals in their roles but most impressive in their ensemble moments and break out sketches. Full of energy and humour, it’s difficult to contain laughter throughout and it is quite simply a joy to watch such a talented cast. Each scene was completely seamless with the use of song and movement that enhanced the story further.

The Wipers Times is something that needs to be seen as it recognises an important moment in British history which is forgotten. The men who fought a gruesome battle and also remained positive enough to bring a moment of joy with a Newspaper deserve to be remembered and this show highlights it beautifully. Go and see The Wipers Times at The Richmond Theatre 25th-30th September.

Hull Truck Theatre – until 14 October.  Reviewed by Catherine McWilliams

4****

This excellent production at Hull Truck theatre fairly zipped along, taking our emotions from highs to lows, with a good sprinkling of humour.

On the surface this is a story of Nikolai, an elderly Ukrainian widower living in the East of England who marries a much younger Ukrainian woman, much to the displeasure of his daughters. It is much more though, taking us through the history of the family and Ukraine itself and making us consider those who seek a new life through immigration. Family secrets are divulged as the daughters argue with their father.

The play has been skilfully adapted by Tanika Gupta from the novel by Marina Lewycka. She has introduced the mother Ludmilla as the narrator, who provides a calm voice in the midst of madness and chaos.

The cast play a variety of roles as they tell the story and flashback to family history. We had joyful Ukrainian dancing and singing at one moment and were faced with the horror of a Nazi labour camp later. All the cast played their many roles well. Ruth Lass played Nadezdha superbly as the younger daughter who really struggled with her relationship with her father.

Geoffrey Beevers was particularly outstanding as Nikolai, who could not quite understand why his daughters might be distressed by his actions. The twinkle was there to see at times, together with his distress when things went awry. However this “poet engineer” never gave up hope.

The set mainly consisted of suitcases and a large tree, but never seemed to be just suitcases but cleverly added to the story telling.

I thoroughly enjoyed this production but was left with the question what would I do to ensure a future for my child? And as for the tractors – well go and see the play and find out for yourself!