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Lyric Theatre, The Lowry, Manchester- 3rd May 2017.  Reviewed by Julie Noller

Casanova what a spectacular jaw dropping performance…. Yes I did actually have to close my mouth at the wonder and pure energy I was watching.

Casanova is nearing its tour end there’s only London Sadler’s Wells to come. Perhaps the night would end with a jaded performance with tired dancers? Fear not for it was far from tiring (apart from my proclamations of I could never do that – but isn’t that the joy of watching masters at work?) I was witnessing not just months of practice but years – you want to take your six year old daughter contemplating ballet to watch what they could achieve,  alas my daughter is 14 and even she would be embarrassed at this extremely sensual and moving performance. I could almost sense that the dancers could close their eyes and still the performance would be perfect.

The thing is there are far too many names to single out for praise, Christopher Oram for those costumes and set designs, coming together with Alastair Wests lighting design. We had the drab black costumes of the so called ordinary folk to the papal purple and white reflecting life in clergy, to the more elaborate scarlet reds and gold working cleverly with the cadbury lighting of golds and purples which highlighted each dancer perfectly. I was somewhat dazzled by the mirrors reflecting the light back into the theatre but the effect worked showing the oppulence in Casanovas life and once my eyes had adjusted being thrust from relative darkness, it also succeeded in highlighting another aspect of each dancer, wow those muscles and somehow just a little bit cheeky. The set mostly shades of gold as you would expect of the era but the few pieces used expressed the extravagance that showed the essence of money and power in 18th Century Venice and Paris.

If I had one recommendation to anyone attending future performances it would be to spend a couple of minutes reading The Story on pages 4 and 5 of the programme, if you are familiar with Casanova or not it will help you to understand the characters if you like to have a thorough knowledge. I know the basic story of Casanova the Lothario, I watched Act I without reading the story instead I busied myself reading about the dancers, amazed at the diversity of talent. I will say if you enjoy losing yourself in pure talent and emotion you have no need to read The Story, I did allow myself the chance to read The Story before Act II and found I had greater understanding of not only what was happening and why but what was to come.

So Casanova, you would be expecting raunchy? Wrong what you got was something warm and glowing yet incredibly sensual and energetic. Giuliano Contadini was masterful and believable as Casanova from leaping about the stage on to table tops to those jumps (more jaw dropping moments than I can recall) together with the choreography of Kenneth Tindall in his first full length ballet with Northern Ballet. You could see this lothario at work, was no one ever safe from the charms of Casanova? When you watch a film maybe it’s the British way to get embarrassed by scenes showing any sort of sexual contact, I know I’ve said already it was extremely sensual but it simply was. Casanova was portrayed as not only a lover but so in touch with the emotions of others. My perception was that of a man hiding behind his own mask, understanding others so well, he would give to them the Casanova they craved and needed, whilst devouring all kinds of knowledge. My favourite dance without a doubt was where Bellino (the wonderful Dreda Blow) shares her secret that she is indeed a woman with Casanova it is simply stunning, vibrant and yet again so sensual.

More names need praise and they include Kerry Muzzey (music) for his first full length ballet and first live theatrical work…. Really? I found myself lost in the music more than once and it perfectly accompanied those sensual and highly emotive scenes, the sort of music you could soak away your troubles in the bath with. John Pryce Jones Sinfonia Conductor and Geoffrey Allan Sinfonia Leader unfortunately I cannot applaud through my computer screen.

Once again I have watched a ballet and have been left in total awe at the power and grace not to mention the skills, simply amazing.

New Wimbledon Theatre Tues 2nd – Sat 6th May.  Reviewed By Jessica Brady

Wonderland: it was exactly that and more. Sitting in my seat eagerly awaiting the curtain up moment surrounded by a plethora of famous faces, I had no idea what to expect and I was excited.

We start in a very different place than the infamous Wonderland, rather a council block of flats, dull and dismal. Alice (Kerrie Ellis) is not having a good day, in fact it’s so bad we are straight in with the first musical number of the show ‘Worst day’. Alice is stuck in a frustrating world where everything seems to be against her, she can’t move on and she can’t let go of her ex husband and the hope of him returning, despite getting notified of his marriage to a new partner. Alice’s teenage daughter Ellie (Naomi Morris) is older than her years and has become more of a parent role to Alice instead of the other way around. The Next door neighbour, Jack (Stephen Webb), is very fond of Alice, even though Alice doesn’t really have much thought for him, however she comes to rely on him when Ellie gets led astray by a large white rabbit (David Willetts) into a broken elevator and transported to Wonderland, then the fun begins.

The stage bursts into colour and fun with a visually stunning (if not a little trippy) set and revamped modern look costumes for all the characters of the well known Lewis Carroll classic. The story develops into saving the current residents of Wonderland from the tyrannical Queen of Hearts (Wendi Peters) and Alice rediscovering the old her. This mission of course doesn’t come without its challenges, Ellie, Jack and the Mad Hatter (Natalie McQueen) all go through the looking glass, turning them into the opposite versions of themselves which in the Mad Hatters case is very dangerous indeed. The Mad Hatter along with Ellie’s help hatches a plan to over throw the Queen, but the Mad Hatter goes power crazy and turns Wonderland into a well oiled hat making chain, forcing all the residents to do the work.

The cast in this show are unbelievably good, with every bit of energy being put into the characterisation of these well known and loved characters. This will be the 6th time I have seen Kerry Ellis in a show and she is still as sensational as the first time I saw her back in 2006 in Miss Saigon. Her voice is crisp and effortless and I thought she was perfect in this motherly take on Alice. Wendi Peter’s was hilariously funny as the Queen Of Hearts despite not actually being in the show as much as I had hoped, she was still a scene stealer and has a really great number in the show ‘Hail the Queen’ which you couldn’t help but bop along to. For me the standout star in this show is Natalie McQueen as the Mad Hatter. This girl’s voice is insane, she is absolutely mesmerising to watch and each number she had in the show had me flawed. I loved her characterisation and would honestly go see this again just for her! A special mention should go to Naomi Morris as Ellie, a really collected and wonderful performance and had me laughing out loud at points. I could go on and mention what I loved about all the characters as they were all done so well, even down to the ensemble, but all I will say is go see it and let yourself be swept into the mad world of Wonderland.

This is a fantastic musical with a really interesting and energetic score. There are some great numbers that will leave you feeling uplifted and perhaps a little crazy afterwards, but surely that’s what Wonderland should be. Go catch Wonderland and have fun, let your mind wander in the craziness of the show and prepare to be amazed.

Grand Opera House York – until Saturday 6 May 2017.  Reviewed by Michelle Richardson

Kick off your Sunday shoes and cut loose to the music of Footloose, now touring and playing at the Grand Opera House in York. Based on the hit 1980’s film with story revolving around youth, rebellion and romance.

Ren, Joshua Dowen, is the city boy being forced to move to the bible belt town of Bomont with his mother. We meet the rest of the cast in church, led by the Reverend, Reuven Gershon, who shows himself to be narrow minded and a driving force about the laws and regulations in Bemont. Unfortunately for him he has a bit of a wild child daughter, Ariel, Hannah Price, who really is just going through a phase and is just rebelling against her strict father.

Ren manages to make friends with Willard, played by Gareth Gates, of Pop Idol fame. Willard is a simple fellow, a bit of a country hick and definitely the comedy act of the musical, a bit over the top at times, but it certainly made us laugh. In one sequence his clothes are ripped off and he is left standing in nothing but aviator sunglasses and a skimpy pair of gold shorts, it certainly pleased a good proportion of the audience and he sure has done a lot of working out since his Pop Idol days!

The other star of the show is Maureen Nolan who plays the Reverend’s wife Vi, a part she plays with ease. She delivers a solid vocal performance and you can tell she is comfortable on stage and has been performing for years.

Ren discovers, much to his disgust, that dancing is banned. Banned, how can it be banned?? He decides to try and change this and takes on the town and the Reverend.

All the cast worked very hard, most playing at least one instrument, some even on roller skates, on stage. There were 2 keyboards slightly hidden at the both sides and they constantly had different cast members jumping in to contribute their bit, backwards and forwards, even Gates. All this whilst singing and dancing, a truly talented group.

I really enjoyed the performance of Laura Sillett who played Rusty, the love interest for Willard. She was the stand out performer for me in the show as a whole.

Definitely a show with the feel good factor and you will be entertained from start to finish.

Showing in York until Saturday 6th May.

When did you first start to sing?

I was eight years old when I first realised I could sing. It was at my first school where they were putting on a production of Joseph and the Amazing Technicolour Dreamcoat. I was fairly young so I can’t remember too much about it, but I remember it being liberating. Years later I was asked by Andrew Lloyd Webber to play Joseph in the West End and I jumped at the chance. It just hasn’t stopped since!

Did you know Footloose before joining this production?

I am a big fan of the film. It was released the year I was born in 1984 and I remember watching it quite a bit growing up. It’s a classic. I actively went after this job; the role really appealed to me. I’m playing the comedy role which is a type of character that I’ve never played before, and it’s great.

Tell us about the role of Willard.

I’m playing Willard, who is the character who can’t dance. To be honest, that suits me down to the ground! He’s a cowboy from Beaumont. It’s a really small town in the United Stated where everybody knows everybody’s business, and dancing is banned. Ren arrives in Beaumont and shakes everything up; he teaches Willard how to dance. Willard is a goofy character, and this is brand new for me. I am really enjoying playing someone completely different. I like to challenge myself.

What can audiences expect from the show?

It is quite true to the film and features all the hits from that time and from the film itself, songs like Let’s Hear it for the Boy, Holding out for a Hero and the title track Footloose. It is a great show with some really special moments. We do a mega mix of all the songs at the end and everyone is on their feet and having a good time, so it is a feel-good show. With this cast, everybody sings, acts, dances and plays instruments live too. I really have the greatest respect for this cast, they are a really talented bunch.

What is your favourite musical?

That’s a really tough one. I absolutely loved the 25th Anniversary production of Les Miserables which toured a few years back. It was stunning. The cast were incredible and the venues just huge. I learnt my craft on that job, from the best. We even got to take the show to Paris, which was obviously incredible.

Have you always been able to dance? Did you have lessons?

I’m fortunate that I play a cowboy who can’t dance! At the end of the show he’s had to learn how to dance though. I have done parts before where I’ve had to dance and, of course there was Dancing on Ice, so I picked up the steps OK and I think I manage to pull it off at the end.

You’ve now done a lot of musical theatre, do you still want to pursue your pop career?

I want to release another album – but one that I’ve written. As I can write music as well as lyrics, I have been doing so. I like coming up with melodies. I have written some already – 3 acoustic versions were on my greatest hits album. But I really want to finish it. As I want to do it myself, it’s mostly going to be down to me finding or making the time!

Much has been written and televised about your stammer and the public have seen how much you have improved through the McGuire Programme. How do you cope on stage having lines to speak?

I have found a technique that works for me. It involves having a lot of control and willpower. This can be really hard for me when I am busy or stressed. I lost my singing voice in 2015 and was put on voice rest. This meant no speaking so it set me back a lot so it’s something I am now working on again. Everyone involved in the programme is so supportive – we all support each other and don’t judge. No one understands a stammerer other than another one. Everyone involved in the programme has a stammer but everyone is at different stages of recovery. We don’t use the word cured – as you take your eye off the ball and it can return.

Would you like to do more acting?

I’ve always been a fan of musical theatre – and I love being part of a production. It’s like a family – which is so totally different to being a solo star. Musically, performing is what I love to do and we get to do it every day to different audiences and creating something new.

Footloose the Musical, starring Gareth Gates and Maureen Nolan, will be at Richmond Theatre from Monday 15^th to Saturday 20^th May

Sheffield Theatres are giving an up-and-coming director the opportunity to spend 18 months working in their venues, as part of the Regional Theatre Young Directors Scheme. 

Starting this autumn, the successful applicant will work across the Crucible, Lyceum and Studio Theatres, gaining an insight into both producing and presenting work of varying scale,  including new writing, classics and musicals.

Additionally, they will shadow and assist a range of departments within the organisation, gaining an insight into the operational running of a building, cultural leadership and the wider role of the artistic director

The paid residency is open to talented directors of any age, with at least 18 months professional experience and demonstrable commitment to a career as a director.

For further information and application details go to www.rtyds.co.uk

The deadline for applications is 12.00 noon on Monday 8 May 2017.

EVITA AT LEEDS GRAND THEATRE

 

STARRING

 

WEST END LEADING LADY EMMA HATTON AS EVA PERÓN 

LEADING ITALIAN ACTOR GIAN MARCO SCHIARETTI AS CHE

Telling the story of Eva Perón, the wife of former Argentine dictator Juan Perón, the classic musical Evita returns to Leeds Grand Theatre from Tuesday 16^th May for one week only.

Evita follows Eva’s journey from humble beginnings through to extraordinary wealth, power and iconic status which ultimately lead her to be heralded as the ‘spiritual leader of the nation’ by the Argentine people.

Taking on the iconic role of Eva Perón is one of musical theatre’s most exciting leading ladies today, Emma Hatton. She recently finished wowing audiences in the lead role of Elphaba in the West End’s production of Wicked. Prior to this she performed the principle roles of Scaramouche and Meatloaf in We Will Rock You at the Dominion Theatre, and Donna in the West End production of Dreamboats and Petticoats.

 

Making his UK debut is leading Italian performer Gian Marco Schiaretti taking the role of Che, a character who reflects the voice of the Argentine people – linked to Eva by destiny; he brings conflict to the story of Eva’s rise to fame. Gian Marco Schiaretti most recently played the title role of Tarzan in Disney’s Musical Tarzan, in Stuttgart. Prior to this he played Mercutio in Romeo and Juliet across Italy.

Joining them is Kevin Stephen-Jones as Argentine President Juan Perón. He has performed extensively across the UK and Europe in over 20 different operas. His musical theatre credits include Cats, Dirty Rotten Scoundrels and Love Beyond.

Featuring some of the best loved songs in musical theatre, including Don’t Cry for Me Argentina, On This Night of a Thousand Stars, You Must Love Me, and Another Suitcase in Another Hall Evita continues to entertain audiences 40 years on.

Evita is at Leeds Grand Theatre from Tuesday 16^th to Saturday 20^th May

 

Tickets are priced from £20.50 to £41.50

 

Book online at leedsgrandtheatre.com or call Box Office on 0844 848 2700

 

NEW BRITISH PLAY“GATE”

BY ARTEMIS FITZALAN HOWARD

TO PREMIERE AT

THE COCKPIT THEATRE, LONDON

FROM 13 TO 24 SEPTEMBER 2017

  

Following on from the acclaimed success of Pre-drinks/Afterparty at last year’s Edinburgh Festival Fringe, Deadpan Theatre is now presenting new play GATE, a poignant and witty story of love and loss that asks what really happens to us after we die, what we leave behind and what we will become.  GATE is written by Artemis Fitzalan Howard, co-founder, with Eliot Salt, of Deadpan Theatre.  The production will have a limited run at the Cockpit Theatre in London from 13 to 24 September, with a press night on Friday 15 September 2017.

 

It is an average Thursday morning at ‘The Gate’ in Wapping, East London, and, like every first-born child in her family for generations, Eve is guarding it carefully.  It’s going to be a busy day – there are four new appointments booked in.  The trouble is none of the clients knew they were coming… because nobody knows the gate exists until they reach it, and to reach the gate you have to be dead.

 

“I mean… I sort of hoped the pearly gates story was true-ish where I could finally have curly hair and be into fitness and classical music and eat Philadelphia toast in the clouds with my other angel pals.  But now I’m here and this is – I’m questioning everything I ever believed in.”

 

In GATE, Fitzalan Howard challenges the theories of the great ‘thinkers’:  when evolutionists tell us that we’re just trying to spread our genes, economists tell us that all we do is maximize our self-interest, and psychologists tell us that we just want to get laid, is it true that we only act on narrow material desires or do our wider spiritual beliefs still count for something?

 

GATE will be directed by Sadie Spencer and designed by Alex Berry.  It is produced at the Cockpit Theatre by Artemis Fitzalan Howard for Deadpan Theatre.

 

Listings Information

The Cockpit Theatre

Gateforth Street

Marylebone

London NW8 8EH

 

Tickets:  £20 (£18 concession)

 

Box Office:  020 7258 2925

Performances:  13-15 & 19-23 September, 7.30pm only; 16 September, 3pm & 7.30pm; 24 September, 3pm only

 

Website: http://thecockpit.org.uk/ / www.deadpantheatreco.co.uk

Facebook: https://www.facebook.com/events/457901971217879/?notif_t=plan_user_joined&notif_id=1493721101102274

Twitter: @deadpan_theatre

Instagram: @deadpan_theatre

 

Running Time:  90 minutes

Following a highly successful 2016/2017 UK tour and Christmas engagement at London’s Royal Festival Hall, MILLION DOLLAR QUARTET – the Tony Award-winning Broadway musical and West End smash hit today announces a second UK tour this autumn when it opens at York’s Theatre Royal on September 18^th.

 

Martin Kemp and Peter Duncan share the role of legendary record producer Sam Phillips – the man who brought the 4 recording stars together to create music history – having  both previously taken on the role in celebrated performances at the Southbank Centre, and on tour, respectively.

The tour is set to visit: York Theatre Royal, Hornchurch The Queens, Cheltenham Everyman, Wycombe Swan, Inverness Eden Court, Edinburgh Playhouse, Eastbourne Devonshire Park, Poole Lighthouse and Ipswich Regent. Please see below listings for dates and performance listings.

Martin Kemp rose to fame as the bassist in one of Britain’s best-loved bands, Spandau Ballet, with over 25 million records sold worldwide, and a string of no.1 hits. No stranger to the screen Martin became a household favourite playing lovable rogue Steve Owen in Eastenders, for which he won a number of awards. Martin’s numerous TV and film credits include, The Krays, Sugar Town, Back in Business, and Love Lies Bleeding, as well as many series of one off dramas for ITV. His book ‘True – An Autobiography of Martin Kemp’ was published in 2000 and spent several months in the Sunday Times best sellers list. In 2017 he joined the judging panel for Let It Shine, the new reality TV series with Gary Barlow.

Peter Duncan is an Olivier Award nominated actor who first came to attention as a presenter on the iconic television show Blue Peter. Peter began his career on stage with Laurence Olivier’s National Theatre company at the Old Vic and subsequently went on to be Olivier Award nominated for Best Actor in a Musical for his performance in The Card and starred as Barnum in Barnum. In addition to his roles on stage, Peter has also created original pantomimes at Hackney Empire and Broadway Theatre as well as writing and directing Oxford Playhouse’s annual Christmas production. As well as his illustrious career on stage, Peter has had roles on television in Demolition Dad, Doctors and fronted the BBC series Duncan Dares.

Inspired by the true story of the famed recording session where Sam Phillips, brought together icons Johnny Cash, Carl Perkins, Jerry Lee Lewis and Elvis Presley, MILLION DOLLAR QUARTET will play York Theatre Royal, Hornchurch The Queens, Cheltenham Everyman, Wycombe Swan, Inverness Eden Court, Edinburgh Playhouse, Eastbourne Devonshire Park, Poole Lighthouse and Ipswich Regent.

 

MILLION DOLLAR QUARTET includes more than 20 legendary rock ‘n’ roll hits, including Blue Suede Shoes, Hound Dog, I Walk The Line and Great Balls of Fire.

 

MILLION DOLLAR QUARTET brings that legendary night to life, featuring a score of rock hits which bring you inside the recording studio with four major talents who came together as a red-hot rock ‘n’ roll band for one unforgettable night.

 

Million Dollar Quartet is written by Tony Award nominees Colin Escott and Floyd Mutrux and produced by Simon Friend, Mark Goucher, Tom O’Connell, Laurence Myers and Gavin Kalin. Olivier nominated Ian Talbot OBE, renowned for his tenure as both Artistic and Managing director at The Open Air Theatre in Regent’s Park directs.

 

Don’t miss your chance to be a fly on the wall of fame and history, and join in the celebration… at MILLION DOLLAR QUARTET!

 

For more information, please visit the official website:

www.milliondollarquartetlive.co.uk

 

Twitter: https://twitter.com/MillionDollarUK

Facebook: https://www.facebook.com/MillionDollarUK/

YouTube: https://www.youtube.com/channel/UCKPaSeypuOM-pHAH3AfoqLA

Instagram: https://www.instagram.com/milliondollaruk/

 

 

MILLION DOLLAR QUARTET – AUTUMN TOUR DATES 2017

 

Peter Duncan will perform as Sam Phillips in those dates in bold; Martin Kemp performs in the role in the other dates.

 

Tuesday 19^th – Saturday 23^rd September                Box Office: 01904 623 568

York Theatre Royal, York                                

Website: www.yorktheatreroyal.co.uk

 

Monday 25th – Saturday 30th September             Box Office: 01708 443333

The Queen’s, Hornchurch                                             

Website: www.queens-theatre.co.uk

 

Monday 2^nd – Saturday 7^th October                            Box Office: 01242 572 573

Everyman Theatre, Cheltenham                                

Website: www.everymantheatre.org.uk

Monday 9^th – Saturday 14^th October                          Box Office: 01494 512 000

Wycombe Swan, High Wycombe

Website: wycombeswan.co.uk

Monday 16^th – Saturday 21^st October                        Box Office: 01463 234 234

Eden Court, Inverness

Website: www.eden-court.co.uk

Tuesday 24^th – Saturday 28^th October                       Box Office: 0844 871 3014

Edinburgh Playhouse, Edinburgh                              

Website: www.atgtickets.com

 

Monday 30^th October – Saturday 4^th November  Box Office: 01323 412 000

Devonshire Park Theatre, Eastbourne                     

Website: www.eastbournetheatres.co.uk 

 

Monday 13^th – Saturday 18^th November                   Box Office: 01202 280000

Lighthouse, Poole                                                            

Website: www.lighthousepoole.co.uk

Monday 20^{th –} Saturday 25^th November                  Box Office: 01473 433 100

Regent, Ipswich

Website: ipswich.gov.uk

REVIEW: Grease The Musical (Sunderland Empire) ★★★

May 3, 2017 

For: West End Wilma 

https://www.westendwilma.com/review-grease-the-musical-sunderland-empire/

Grease was the word at Sunderland Empire for this new tour of the classic Grease The Musical.

Unfortunately it wasn’t the one that I wanted. I’m not sure if it was the grey Bank Holiday weather, touring tiredness or just a general lethargy but this show, apart from some stand out moments, felt a bit flat. Maybe it was the addition of star names who weren’t up for the challenge that didn’t help but they seemed to be going through the motions of performing rather than giving the show the energy and passion it needed.

Tom Parker, formerly of The Wanted, tries to impress in his first theatrical role as heart-throb Danny Zuko. Clearly he can sing and handles the complex dance routines very well but at times, there is a lack of power behind his vocals. Ex-Eastenders star Louisa Lytton is wise-cracking Queen of the Pink Ladies, Rizzo. In the second act she really unleashes Rizzo’s fierceness, but character’s big song, There Are Worse Things I Could Do, lacked passion. Compare this to the flawless performance of Danielle Hope as Sandy – her rendition of Hopelessly Devoted to You was nothing less than phenomenal. Mentions must also go to the terrific T-Birds Michael Cortez (Kenickie), Ryan Keenan (Doody), Oliver Jacobson (Roger), Grant Thresh (Sonny) and the incredible Pink Ladies Rhiannon Chesterman (Frenchy), and Marty (Lauren Atkins), and Jan (Rosanna Harris), who carried their struggling main counterparts through the show. The young ensemble are the definite stars.

Yet while some elements don’t come together as well as expected, there is plenty to like about this particular production, most notably the Jacobs-Casey songs including Summer Nights, You’re The One That I Want, Sandy and Greased Lightnin’, which greet the audience like old friends. And although the show got off to a slow start, Doody thrust the show into high Rock ‘n’ Roll gear with his spectacular performance of ‘Those Magic Changes’. The surprise hit of the night

Some things were good. Terry Parsons flashing, stylized sets and Andreane Neofitou’s colourful costumes were excellent, Arlene Phillips vigorous choreography was incredible and the band – positioned above at the rear of the stage under Griff Johnson’s musical direction – were truly fabulous

Ultimately though, even the faultless set, music, and choreography were eclipsed by Parker and Lytton’s painstakingly obvious inexperience on the stage. Despite the sheer talent of the insatiable Danielle Hope and supporting cast. However it is still relatively early on in the tour

and given time I’m hopeful all the pieces will come together – and with some on the job learning – the potential is there for a first class production.

The Bunker, 53A Southwark Street London SE1 1RU

Tuesday 6th – Saturday 17th June 2017

Following a successful run at the Edinburgh Fringe 2016, Pharmacy Theatre present the London transfer of their debut show – a highly-acclaimed adaptation of death penalty investigator Rene Denfeld’s award-winning novel. The Enchanted highlights issues around capital punishment, child abuse, and the self-perpetuating cycle of violence corrupting the US penitentiary.

Death row in America. Men sit in isolated dungeons awaiting execution. An investigator works tirelessly to save them. She will not let men go to their deaths without a fight.

Rene Denfeld’s disturbing and poetic novel comes to life through performance, puppetry, choreography and sound in this striking adaptation examining themes of evil, punishment, clemency and redemption. This journey through the eyes of the condemned seeps deep into our consciousness – are monsters really born or do we create them?

Pharmacy Theatre comment, Now more than ever, the exploration of these concepts needs to be discussed with wider audiences. By sharing Rene Denfeld’s story, we hope to illustrate, and provoke discussion about, the parallel failings of justice systems in America and the UK. This run will allow us to ask questions and inspire solutions for the way forward.

This spellbinding story will refuse to let you go. It is a play with a message to tell about the treatment of human beings and the possibilities of redemption, and it delivers this with skill (Broadway Baby).

Rene Denfeld is a bestselling American author from Portland, Oregon. She is the winner of the French Prix, ALA Medal for Excellence and a Carnegie Listing. She also works as a death penalty investigator and is active in prison reform.