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A PIONEERING FAIRYTALE WITH A TWIST COMES TO HALF MOON THEATRE FOR SIX GROUND BREAKING PERFORMANCES CHALLENGING HOMOPHOBIA AND DISCRIMINATION

SATURDAY 13 – TUESDAY 16 MAY, AGES 5+

Critically acclaimed Action Transport Theatre bring Happily Ever After, their pioneering fairytale with a twist, to Half Moon Theatre from Saturday 13 to Tuesday 16 May 2017. The ground breaking show is part of Half Moon’s commitment to promoting diversity and challenging homophobia and discrimination and is for children and family audiences aged 5+.

The queen is growing impatient. Her lazy son will never be king until he grows up, gets married and starts acting like one. She invites hundreds of princesses from across the land, hoping to find the perfect bride for the prince, but he isn’t impressed by any of them. Then one day a princess arrives accompanied by her brother…

Happily Ever After is inspired by the Dutch children’s book King and King, by Linda De Haan and Stern Nijland. Action Transport Theatre have worked with The Proud Trust to create a play for children which tells the story of two princes who fall in love and live happily ever after.

The six performances at Half Moon are part of the first national theatrical tour of a play for children aged over five with a gay theme.

The production uses Action Transport Theatre’s trade-mark highly visual, wordless storytelling and comedy clowning, along with original music by Patrick Dineen, to engage children in high quality art.  Previously the play has been performed in over 50 schools in the North West and seen by more than 3,000 children, where it has received an overwhelmingly positive response.

Directed by Action Transport Theatre’s artistic director Nina Hajiyianni and featuring a cast of international actors, Happily Ever After aims to help raise awareness amongst children of homophobia, gender expectations and ‘difference’, promoting respect and understanding, and equipping children and parents with a vocabulary around same sex relationships.

According to a recent survey by charity Stonewall, almost two thirds of young people have experienced direct homophobic bullying in schools. Nine in ten secondary school teachers, and more than two in five primary school teachers, say homophobic bullying occurs in their school with the word ‘gay’ often being used as an insult.

Nina Hajiyianni commented: “There is an absence of gay identities in theatre and wider culture for young children – just look at the current controversy about the suggestion of a gay character in Disney’s live action version of Beauty and the Beast. Many families now include same sex adult parents or carers or have other family members who are gay. Where are those children’s lives validated or represented in art? Not to mention younger children who identify as gay themselves. Happily Ever After powerfully addresses this and the subject of same-sex marriage, but not in a heavy handed or preachy way.”

Chris Elwell, Director of Half Moon, said: “We look forward to welcoming Action Transport Theatre to Half Moon with their important children’s tale that spreads a positive message about diversity and tackles homophobia. This ground breaking play will help raise awareness around difference, respect and relationships for children that will stay with them for the rest of their lives.”

All tickets are priced at £7 and can be obtained by visiting the Box Office or by calling 020 7709 8900. Tickets are also available online at www.halfmoon.org.uk

 

* What inspired you to adapt and direct Jane Eyre? Is it a book you particularly admired

I chose this particular title because it’s a story that I love and have enjoyed a close relationship with ever since I was intrigued as a child by Orson Well’s black and white melodrama with fabulous music by Bernard Hermann. I didn’t actually read the novel until I was in my early twenties – and I remember thinking while I read it: ‘this is a clarion cry for equal opportunities for women not a story about a passive female who will do anything for her hunky boss’. I was struck by how modern Jane seemed – her spirit and strong will, her peculiar and brilliant mind striving for personal freedom to be who she is, lashing out against any constraint that prevents her from being herself. She was exactly the sort of person I wanted to be.

* How did the process of devising and directing the play work?

Adapting a novel for the stage is a challenging prospect – especially when that novel is cited as many people’s favourite of all time. It is always daunting when you’re working on a story which everyone knows so well, because you want to surprise and maybe challenge people’s expectations, without losing any of the things which make them like the story in the first place. Our job has been to turn it from a book into a piece of theatre. Essentially that means creating something new – the experience of reading a book is very different to watching a play. Rather than approach the novel as a piece of costume drama, I was keen to explore the themes and get to the heart of the story and characters in a theatrical way. I didn’t want authentic set and period costume to suffocate it, killing the essence and magic of the story.

The devising process involved us as a company responding together to the book. Mike Akers (dramaturg) and I had put a rough structure in place, had made some decisions about which characters were in and which were out, and were in agreement about our version emphasising the comings-of-age aspects of the novel as opposed to focusing just on the Jane/Rochester relationship. But on that first day of rehearsal, there was no script, no read-through, just us as a company taking a deep breath together, making a leap into the unknown, trusting that eight weeks later, we’d have a show to perform.

A lot of the scenes emerged through improvising, playing and trying out lots of different versions. I like theatre that doesn’t just rely on text, so investigating which sections of the book lent themselves to visual storytelling was exciting.

A key aspect of my role as director is to act as a facilitator and editor of the creativity in the room – I love shaping the material that emerges, pursuing and developing the kernels of ideas. Towards the end of the rehearsal period – we lock down the ideas (until previews start, when we make big changes), so that we can rehearse the material we have got.

* What is the history of your production?

In 2013 the Artistic director of the Bristol Old Vic, Tom Morris, gave the green light to my idea of devising a two-part version of Jane Eyre, performed over two nights. After its run in Bristol the production was invited to the National Theatre. It was agreed that we’d distil the two shows into a single event – still retaining its epic quality but honing and tightening to make the experience more intense. The chance to develop and shape work isn’t something that theatre-makers often get to do, so this was a very exciting opportunity for us. The run at the National was really successful and the decision was made by the NT and BOV to tour the production in 2017.

* What do you think are the main themes of the story?

Re-reading the book now, I’m struck by the weight the novel places on individual human rights. Jane understands from a very early age that in order to thrive she needs to be nourished – not just physically but emotionally, spiritually and intellectually. These basic human needs are central to our well being and Jane has a fundamental understanding of this. I like to think of it as a Life story rather than a Love story (the original title was Jane Eyre – an Autobiography) which sees Jane develop from a powerless child into an independent, free-thinking adult. But, like any fine piece of writing, Jane Eyre is multi faceted and it seems that whoever you are and whatever your age, each reader will gain something slightly different from it.

* How do you think that the story resonates in today’s society and today’s audiences?

Firstly, it is a superb story – a real page turner, with a protagonist who you root for from the start. Secondly, despite the fact that it was written over one hundred and sixty years ago it deals with all the things we still find ourselves struggling with – ‘where do I fit in, who am I’? The intensity of the novel’s search for identity is something we have all experienced. Surrounding the heroine are characters grappling with their own individual identity crises. I don’t think there is one character who is not struggling in some way to come to terms with their circumstances and wrestling with the very idea of what it is to be human. whether it’s Rochester or Helen Burns, Mrs Reed or Blanche Ingram, St John Rivers or Bertha Mason – all these characters are flailing around in an attempt to discover/come to terms with who they are. In the middle is Jane – taking responsibility for her life and always taking action to change her circumstances when her integrity is in danger of being threatened.

* Can you tell us something about the staging of the play, the music, the design and the style.

I would describe it as an ensemble piece – performed by seven actors and three musicians. Apart from the actor who plays Jane, the actors play more than one part and are all onstage most of the time. The set which is a wooden structure made up of platforms, ramps and ladders is far from a literal interpretation of the Victorian period – it has a minimalist simplicity but provides the actors with a playground on which to perform and illustrate the physical and emotional struggle Jane encounters as she develops from a child into an independent woman.

The band are placed in the centre of the set – I wanted the music to be central as it is intrinsic to the production. Benji Bower the Composer uses a variety of genres including folk, Jazz, sacred, orchestral and pop to create the world Jane inhabits.

* How has your career developed from acting to writing and directing?

I trained at Lamda and worked as an actress for ten years before finding myself in Bristol where together with an actor friend set up a summer theatre school for young people. This was a life changing event for me – I discovered that I loved directing, which lead to me becoming part of the Education Department at the Bristol Old Vic. While I was there Travelling Light theatre company invited me to work for them as a director which lead to a ten year collaboration. Now I work for whoever offers me a job – but am very happy to still be part of Bristol Old Vic as an associate artist. I wouldn’t ever consider myself a writer – but due to the nature of the devising process I have an understanding of narrative structure. I always work very closely with a dramaturg on every production to take responsibility for the overall shape of the piece.

* Will the touring production develop from the show people may have seen in Bristol and at the National Theatre?

The touring production of Jane Eyre will have a new cast and as with other re-mounts I’ve done will be tweaked and honed for the better! I think it’s essential to keep improving a piece of work. But essentially it will be the same.

* Have you visited the Bronte Parsonage in Howarth?

Yes – more than once. In 1991 I stayed in Haworth for a couple of weeks when I was working at the Alhambra theatre in Bradford, it was early Spring and the village was almost deserted. I visited it again before I started rehearsals for Jane Eyre with my family – we could hardly move for the crowds and I wondered what Charlotte Bronte would have made of it all?

I’m looking forward to a narrowboat holiday in July on the Rochdale canal which passes through much of the countryside that provided such inspiration for the Brontes.

* Do you have any connections with any of the cities, towns and areas the show will be touring to?

My Mother grew up in Brighton and we stayed in Hove every Summer with my Grandparents during my childhood. I have very happy memories of trips to the Brighton Theatre Royal and sitting in the gods watching big musicals – Joseph and his Technicolor Dreamcoat had a big impact on me, I learnt all the lyrics and performed all the songs with my cousins in our own version. I still have family there – so it will be lovely to visit and take a trip down memory lane!

The King’s Head Theatre in association with Anita Creed Productions and The Phil Willmott Company presents:

www.bucklandtheatreco.com / @BucklandTheatre

• FULL CAST ANNOUNCED FOR THE TENTH ANNIVERSARY PRODUCTION OF THE UGLY ONE AT PARK THEATRE
• DIRECTED BY JMK WINNER ROY ALEXANDER WEISE, THE UGLY ONE WILL PLAY FROM 1 – 24 JUNE
• CHARLIE DORFMAN WILL PLAY LETTE, T’NIA MILLER WILL PLAY SCHEFFLER, ARIAN NIK WILL PLAY KARLMANN AND INDRA OVÉ WILL PLAY FANNY

 

Today, Buckland Theatre Company has announced casting for Marius von Mayenburg’s The Ugly One, the company’s third production at PARK90 at Park Theatre. Staged ten years after it’s debut at the Royal Court Theatre, The Ugly One will run from 1 – 24 June with a press night on 9 June.

Directed by 2016 James Menzies-Kitchin Young Director Award winner Roy Alexander Weise and following his critically acclaimed production of The Mountaintop at Young Vic, The Ugly One will star Charlie Dorfman as Lette, Arian Nik as Karlmann and Indra Ové as Fanny. For this ten year anniversary production, T’Nia Miller has been cast as Scheffler, a role which is traditionally played by a man.

The Ugly One is a razor-sharp comedy about beauty, identity and doing what it takes to get to the top. This biting social satire follows Lette, a talented engineer, who is told that his face is too ugly to succeed and so undergoes extreme plastic surgery to make himself more beautiful. But he soon discovers that, maybe, there is such a thing as being too good looking.

Director Roy Alexander Weise said: “I’m thrilled to be joining forces with Buckland Theatre Company for this very timely revival of The Ugly One. As well as being a potent comedy about what we see as beautiful (which is perfect for our world of selfies and filters!) it’s also fascinating to look at how much the world has changed, or hasn’t changed at all, since Marius von Mayenburg wrote the production a decade ago. I can’t wait for audiences to see it and squirm with recgognition.”

Charlie Dorfman (Lette). Charlie studied Theatre at Trinity College Dublin and the Beverly Hills Playhouse in Los Angeles. His recent theatre include LUV, Some Girl(s) (both Park Theatre), Miss Julie (Etcetera Theatre), Taking Steps, Dangerous Corner and Wuthering Heights (all Manor Pavilion Sidmouth). In addition to his work on stage, Charlie has appeared on film in Myrtle, The Show and Present.

T’Nia Miller (Scheffler). T’Nia’s recent theatre credits includes Re:Home (Yard Theatre),Eclipsed (Gate Theatre), Crowning Glory (Theatre Royal Stratford East), A Midsummer Night’s Dream (National Theatre), Sick (Almeida Theatre) and Elegies for Angels, Punks and Raging Queens (Shaw Theatre).

In addition to this, T’Nia has appeared on television in  Born To Kill, Witless, Death In Paradise,Wagstaffe, Unforgotten, Marcella, Guilt, Hollyoaks, Doctor Who, Holby City, Dubplate Dramaand The Bill. T’Nia’s film credits include Obey, Don’t F*ck Around With Love, Stud Life and The Disappeared.

Arian Nik (Karlmann). Arian has recently graduated from Mountview Academy of Theatre Arts, with a BA Honours in Acting. He is thrilled to be making his professional stage debut in The Ugly One at the Park Theatre.

Indra Ové (Fanny). Indra’s recent theatre includes The Interrogation of Sandra Bland (Bush Theatre), Torn (Royal Court), The Curious Incident Of The Dog In The Night Time (National Theatre), Yes Prime Minister (Gielgud Theatre), Twelve Angry Women (Oval House Theatre),Etta Jenks (Finborough Theatre), Peer Gynt (Arcola),Under One Roof (Soho Theatre), The Seagull (National Theatre Studio), Blinded By The Sun (National Theatre), A Midsummer Night’s Dream (National Theatre) and Timon of Athens (Young Vic).

Indra’s screen credits include Requiem, A.D The Bible Continues, Holby City, Glue, Dumping Ground, Topsy and Tim, Casualty, Doctors, Midsomer Murders, Best Man, The New Worst Witch,Attachments, Bugs, She’s Out, and Space Island One. Further to this, Indra has appeared in films such as Finding Your Feet, Jurassic, Dubois, Second Spring, Still, My One And Only, Hellhounds , Mr Invisible, Cold Dead Hands, Club Le Monde, It’s All About Love, Resident Evil, The Dreamer, Cleopatra, More Is Less, The Fifth Element, Othello and Interview with A Vampire.

Roy Alexander Weise (Director) is the 19th annual winner of the James Menzies-Kitchin Award and directed his critically acclaimed, sell out production of The Mountaintop by Katori Hall at the Young Vic. He was the first runner-up of the JMK Award in 2014. Roy has previously worked at the Royal Court as the Trainee Director, at the Bush Theatre and Lyric Hammersmith as the BBC Theatre Fellow and at The Red Room as Associate Artist.

Roy’s current and forthcoming productions include Zero For The Young Dudes (Young & Talented in association with NT Connections) and Jekyll and Hyde (Ambassadors Theatre, National Youth Theatre of Great Britain). Previous theatre credits include The Mountaintop (Young Vic),Primetime (Royal Court Theatre) and Stone Face (Finborough Theatre).

Roy’s Assistant Director credits include Hangmen (Royal Court Theatre and West End), Escaped Alone (Royal Court, Brooklyn Academy of Music and UK Tour), X, For Me For You, Primetime 2015, Violence and Son, Who Cares, Liberian Girl (all Royal Court Theatre), Albion, We Are Proud to Present… (Bush Theatre) and The Serpent’s Tooth (Talawa / Almeida Theatre). For television, Roy was Trainee Director on Invisible (The Red Room/BalletBoyz/Channel 4).

Roy is now Associate Artist at Hightide, Associate Director at Harts Theatre Company and Lead Acting Tutor at Young and Talented School of Stage & Screen.

White Bear Theatre 25 April – 20 May.  Reviewed by Claire Roderick

After a cursory (and ultimately unnecessary) glimpse of the fall of the Paris Commune in 1871, Paul Mason’s play imagines the convicted female revolutionaries’ lives as both prisoners and colonists on New Caledonia. Louise Michel’s revolutionary zeal and vision of social, racial and gender equality was undiminished, and she was undoubtedly active in the Kanak uprising on New Caledonia, although she refrains from discussing her specific contributions, both on New Caledonia and in Paris, in her memoirs. Mason fills in the gaps in this episodic and fragmented play which, although saying much about issues that are still extremely relevant today, suffers from having a split personality.

The main problem is Louise. Admittedly, her photograph in the programme gives the impression of a bit of a cold fish, but Mason has written her, and Lisa Moorish portrays her, as a near sociopath. Her unending haranguing about equality and justice, her interest in the Kanak culture and her everyday interactions all come across as part of an intellectual experiment. This is a character who just doesn’t know how to live. Even her sharing of stories and knowledge about the Kanak ancestors and their relationship with the land, which could have been beautiful moments, all have the detached air of a scientist viewing everyone around her with cold interest. The whole role seems like an illustrated lecture.

The other convicts, on the other hand, are mostly creatures of pure emotion. The only well balanced character is Nathalie (Jane MacFarlane) – scorned and belittled by Louise for her pragmatism. Adele (Robyn Hoedemaker) and Marie (Ottilie Mackintosh) are almost caricatures – you can’t have a story of Parisian revolution without a prostitute and a drunk, can you? But these two at least show some real passion and humanity, even though Adele’s sacrifice was not just to save Marie, but to keep the authorities from finding out the truth about the deaths of hostages. Adele and Nathalie’s conversation about the killings is a highlight of the play – in fact, it’s only when these three convicts talk about the revolt that it seems real, with human consequences. When Louise reels off lists of deaths and atrocities, it’s just facts and numbers.

The portrayal of the Kanak is also problematic. Jerome Ngonadi and David Rawlins do a fine job with what they are given, but, having lived and worked alongside modern Fijian warriors for many years, Mason’s version of colonial Melanesia is a bit 1960s Disney. The attempt to portray the unbreakable bond with ancestors and the land is laudable, but the attitude of the Kanak men towards the female convicts, and their sudden change from subdued ecowarriors to full on war paint is a little simplistic. In the play, Louise Michel appears to dress up the carnage of the Paris Commune with tales of an enchanted red flag that magically protects warriors, and surely must have known how the Kanak’s uprising would end. Again, Mason makes this whole thing seems like her orchestrating an interesting social experiment.

Director Sasha McMurray does fine things with the material, creating a hot and sweaty atmosphere of impending doom; and the committed cast give their all, but the production comes across as a well-meant history lecture shoehorned into what could have been a moving play.

York Theatre Royal – 28 April 2107.  Reviewed by Marcus Richardson

Octopus, is a modern play set post Brexit, exploring the issues what it means to British and how we classify people.  Set in an Identification Office there are three women; Sara, Sarah and Scheherazade, all from different backgrounds and all have even more different views. Scheherazade describes that she and the other two are octopuses (or octopi) one part this, the other that.

The Company made up of a cast of three are all waiting to be interviewed to see if they’re going to be deported, have their benefits cut or allowed to have children.  As each character gets interviewed another actor turns into the interviewer, a Muslim with a headscarf that poses questions by the other characters.  I loved this aspect of the play as all three of the actors took on this role in different scenes.

Dilek Rose who played Scheherazade was absolutely fantastic, not saying that the other two weren’t in fact the cast was very strong and each actor bring amazing quality to their performances, but Rose was absolutely hilarious with her facial expressions. Samara MacLaren played Sarah, a plain British woman who stands out as she seems the typical white woman who breaks into song whenever nervous. The third actor Alexandra D’Sa plays Sara the Indian woman who is an upright accountant who voted for this process, the contest here was really impressive, and D’Sa worked really well with this.

The set was made up of 8 chairs split both sides of the stage and a desk with its own desk chair, on this desk was a laptop and piles of paper.  The greatest aspect was the simplicity of the  stage as it meant they could do a lot with a little. There were three tube light at the front and back of the stage, they changed colour and helped set the scene when they were in the interview office and not in the waiting room, the music played a rather large part in creating the comedy and setting the feel, with Sarah breaking out into song with songs like ‘They’re Changing the Guards at Buckingham Palace’.

The show, touring until June, proves that theatre is just as good as any other platform to send a political message and does so in a comic way, that will make you laugh at the crude jokes on what it’s like to come from different backgrounds and maybe a prediction how people will be treated after Brexit has taken place.

Newcastle City Hall – 29 April 2017.  Reviewed by Lindsay Sykes

Saturday night in Newcastle saw a concert celebrating legendary Knights and Dames of Music of the entertainment industry who have transformed the face of music, film and theatre in recent decades.

Without doubt this is a star vehicle for Schofield and his name is clearly selling tickets as the theatre was around 80% full and the audience greeted him enthusiastically throughout the evening. It was a great concept, and he is an expert of his craft, engaging the audience and providing lots of  facts, figures and show business anecdotes, interacting and responding to audience shout outs and he gave the impression that a lot of his chat was unscripted.

With some outstanding vocals The Knights of Music included songs from Sir Elton John, Lord Andrew Lloyd-Webber, Sir Cliff Richard, Dame Shirley Bassey, Sir Paul McCartney and The Beatles, Sir Cameron Mackintosh, Sir Tim Rice, Sir Mick Jagger, Sir Bob Geldof, Bono who was granted an honorary knighthood, and the newly knighted Sir Rod Stewart.

The evening began with a band of very talented musicians, lead by MD and stunning pianist James Harrison who arguably steals the show.  Playing a mash-up of songs which introduced the cast of six singers, all of which I’m lucky that I have seen perform before – Sophie Evans, Liam Doyle, Andy Coxon, Laura Tebbutt, Emily Jane Brookes and producer Simon Schofield.  The band – Harrison, Daniel Allen on sax, Lloyd Wright on guitar, Anth Ord on bass and Tom Chapman on bass offered remarkable arrangements and seamless mixes which drive this pacey and perfectly produced production.

With his charming and congenial manner Schofield starts the show with the songs of Sir Elton John as the singers danced their way through a medley including I’m Still Standing, Rocket Man and Crocodile Rock, before they finished this upbeat section with a delightful Circle Of Life.

Huge portions of the show are dedicated to the West End with glorious medleys from Jesus Christ Superstar, Phantom of the Opera and obviously Joseph and his Amazing Technicolor Dreamcoat.  Recognising Lord Andrew Lloyd Webber and Sir Tim Rice’s contribution to the music industry, Jesus Christ Superstar and Music Of The Night filled the auditorium, whilst Sophie Evans recalled her time playing Dorothy in The Wizard Of Oz with an exquisite version of Somewhere Over The Rainbow and an excellent rendition of My Favourite Things.  Sir Cameron Mackintosh’s contribution wasn’t forgotten though – with songs from Miss Saigon and some stunning vocals on medleys from Les Miserables.

There’s relentless choreography that proves a lot of effort and time has gone into almost three hours of musical bliss.  Seamlessly moving from rock, pop and musical theatre.  The Sir Tom Jones, Dame Shirley Bassey and SIr Mick Jagger sections being especially fabulous

And finally the audience got what they were hoping and waiting for Phillip performed Any Dream Will Do as well as Close Every Door from Joseph and even pulled on his amazing technicolor dreamcoat.  Proving he still has that special ability to move and engage an audience, receiving a standing ovation for each song.

This is a powerfully polished show, remarkably staged with sensational vocals and a brilliant band – a huge creation for just four marvellous performances.  So it can come as no surprise that by the end, and throughout, the audience were on their feet in awe of this tremendous production

We can only hope that this show will tour again and that Phillip Schofield will rediscover his love of Musical Theatre and tread the boards again sometime soon.

 

Edinburgh Playhouse – 28th April 2017.  Reviewed by Linda McLaughlan 

 

I arrived at Edinburgh Playhouse unsure of what to expect from the evening, would there be dancing, musical performances or a more relaxed feel to the evening. Form the very first chord I was enticed into the wonderful world of musical theatre, jazz,& rock and roll from decades ranging from 1986 to 2016.

‘Vibrant, exciting and toe-tapping’ the first three words which came to the forefront of my mind.

Edinburgh Playhouse was the perfect venue to enjoy the songs and music from some of the West End Musicals, Theatre and Film. The first musical notes from the Knights of Music Band the audience actively participated in joining in with the fantastic songs from various genres from our British musical greats.

Act 1

Philip Schofield had the audience like putty in his hands keeping everyone on the edge of their seats as they eagerly awaited the cast performing their first song from the wonderful Sir Elton John, ‘I’m still standing” and from there the show went from strength to strength.

It was impossible not to find myself singing along to music from ‘Phantom of the Opera’ produced by Lord Andrew Lloyd Webber – ‘Music of the Night’ (a personal favourite of mine) to addictive tunes from the Beatles Medley ‘Hard days Night and Hey Jude’. However an addition to this years performance included the newly Knighted Sir Rod Stewart (2016), with Maggie May and Sailing which the Scottish audience fully participated and enjoyed. The first act seemed to pass quickly as everyone enjoyed the wonderful performances from the cast who were all professional West End Stars in their own right as Solo performers (Andy Coxon, Liam Doyle, Simon Schofield, Sophie Evans, Laura Tebbutt and Emily Jane Brooks.)

Act 2

This started with the guitar player from the Knights band (Lloyd Wright) getting us into the theme of the James Bond Medley and the outstanding music from Dame Shirley Bassey. Things started to get hot under the collar when Philip introduced the music from Sir Tom Jones and the cast obliged by twerking and thrusting to ‘Sex Bomb’. A couple of lucky ladies in the front row were sent into overdrive when Simon and Andy put on an up close and personal performance. The atmosphere in the theatre was electrical and the audience participated by dancing and waving their arms to the beat of the music. Another personal favourite was the music by Sir Cameron Mackintosh and Sir Trevor Nunn from the ‘Les Miserables Medley’.

The pinnacle of the night however was the amazing performance from Philip Schofield when he reprised the role of Joseph, which he had performed on this very stage 19 years previously. His voice was faultless and every person in the audience was in awe of his performance, which climaxed when he adorned his ‘Technicolor Coat’.

I would recommend everyone takes the opportunity and spend the evening watching this fantastic performance, it will be an evening well spent and bring back many memories of the wonderful music and talent we have in Britain.

The Bread & Roses Theatre 27 April – 13 May.  Reviewed by Claire Roderick

Bread & Roses’ revival of Dirty Butterfly is an intense and powerful production that holds no punches.

Neighbours Jo, Amelia and Jason are all suffering because of Jo’s abusive partner. Through their thin bedroom walls, Jason and Amelia can hear everything. Amelia copes by withdrawing to her sofa, while Jason has become steadily addicted to listening to the drama unfolding on the other side of the wall.

Debbie Tucker Green’s bleak but lyrical writing is delivered with conviction and style by the cast, and the interweaving and overlapping conversations are timed perfectly. Under Tessa Hart’s assured direction, Andy Umerah’s portrayal of Jason’s guilt about his obsession with Jo as childlike confusion – imagining how he could recue her – with glimpses of simmering violence is very convincing. Rebecca Pryle’s Jo is finely nuanced, scared and hopeless, but cruelly enjoying her position of power with Jason. Rachel Clarke is wonderful as Amelia – hardly ever still and utterly convincing in her frustration and guilt about trying to survive by not engaging with Jo; and then becoming a whole new carefree person on removing herself mentally and physically from the flat for her cleaning job.

Staged in the round, the lighting and set design – three separate stage blocks separated by moveable perspex panels- enhance the voyeuristic atmosphere of the production. Watching Jason watch Jo through his screen evokes a seedy peepshow, and the uncomfortable nature of the story can make you feel a little unclean at times. There is no happy ending, and no resolution to the characters’ problems, instead you leave convinced that the cycle of abuse and guilt will never end.

Dirty Butterfly is a brilliant portrayal of the impact of domestic violence. Bread & Roses Theatre Company has done it again, a fantastic production that is wonderfully entertaining and thought provoking. Well worth a look.