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FREE PLACES AVAILABLE FOR LOCAL YOUNG PEOPLE TO ATTEND SHEFFIELD THEATRES’ SUMMER SCHOOL

 

Local theatregoers have donated over £5000 to give 23 young people across South Yorkshire the opportunity to attend Sheffield Theatres’ Summer School completely free of charge.

The generous donations from supporters of Sheffield Theatres will enable 23 young people, who wouldn’t otherwise be able to attend the Summer School without financial support, the opportunity to develop their skills in acting, singing and stage craft at the UK’s Regional Theatre of the Year. The funded places also include support for food and travel costs.

Sheffield Theatres’ Summer School runs from Monday 31 July – Sat 12 August (excluding Sat 5 & Sun 6 August) and have three different age groups: ages 9 -12, 13 -15, and 16 -25, as well as a Technical Summer School for young people aged 16+  who are interested in learning about Stage Management, Lighting and Sound. No previous acting or theatre experience is needed, with the two weeks culminating in a performance in the Crucible’s Studio Theatre.

If you would like to apply for a fully funded place for Sheffield Theatres’ Summer School contact [email protected] for further information or call 0114 249 6000. Summer School places start from £150.00 and are available by calling 0114 249 6000 or visiting sheffieldtheatres.co.uk.

 

Sheffield Theatres Listings:

Crucible Theatre

Mon 31 July – Sat 12 August (excluding Sat 5 & Sun 6 August)

Ages 9 – 12
10.00am – 1.00pm | £150.00
Ages 13-15
10.00am – 4.00pm | £185.00
Ages 16-25
10.00am – 4.00pm | £185.00

Technical Summer School
Ages 16+ | £185.00

FULL CASTING ANNOUNCED FOR

THE UK AND IRELAND TOUR OF

 

ANDREW LLOYD WEBBER’S

SUNSET BOULEVARD

STARRING

RIA JONES AS ‘NORMA DESMOND’ AND DANNY MAC AS ‘JOE GILLIS’

 

PRODUCED BY MICHAEL HARRISON, DAVID IAN AND CURVE

 

DIRECTED BY NIKOLAI FOSTER

OPENING AT CURVE
ON SATURDAY 16 SEPTEMBER 2017

Michael Harrison, David Ian and Curve are delighted to announce full casting for the forthcoming UK and Ireland tour of Andrew Lloyd Webber’s award-winning musical SUNSET BOULEVARD. Directed by Nikolai Foster, the tour will open at Curve on Saturday 16 September 2017 (press night Thursday 28 September). Tour schedule below with more dates to be announced soon. sunsetboulevardthemusical.com

 

Joining the previously announced Ria Jones as ‘Norma Desmond’ and Danny Mac as ‘Joe Gillis’ will be Adam Pearce as ‘Max Von Mayerling’, Molly Lynch as ‘Betty Schaefer’, Dougie Carter as ‘Artie Green’ and Carl Sanderson as ‘Cecil B DeMille’.

The rest of the company includes Bernadette Bangura, Matthew Barrow, Benjamin Chambers, Joanna Goodwin, Kristoffer Hellström, Iain Mattley, James Meunier, Gemma Naylor, Fiona O’Carroll, Joanna O’Hare, Jessica Paul, Sam Peggs, Tom Vincent and Barney Wilkinson

Last year, Ria Jones played the role of ‘Norma Desmond’ at the London Coliseum when Glenn Close was indisposed, receiving rave reviews and standing ovations for her performance. Ria has recently starred as ‘Dorothy Brock’ in “42nd Street” at the Théâtre du Châtelet in Paris. Her West End credits include ‘Fantine’ in“Les Misérables”, ‘Grizabella’ in “Cats” and ‘Florence’ in “Chess”. Her touring credits include ‘Alex’ in “The Witches of Eastwick”, ‘Mrs Overall’ in “Acorn Antiques – The Musical”, ‘Reno Sweeney’ in “Anything Goes” and ‘The Narrator’ in “Joseph and the Amazing Technicolor Dreamcoat”.

Danny Mac captured the nation’s hearts and received overwhelming support during his incredible time on BBC1’s “Strictly Come Dancing” making it all the way to the final. He most recently starred as ‘Gabey’ in “On The Town” at Regent’s Park Open Air Theatre. His other musical theatre credits include “Wicked” and “Legally Blonde”.

 

Adam Pearce’s many West End credits include “Les Misérables” at the Queen’s Theatre, as well as the original casts of “Love Never Dies” at the Adelphi, “The Light Princess at the National Theatre and “Urinetown” at the St James Theatre.  Adam has also appeared in “Evita”, “Joseph and the Amazing Technicolor Dreamcoat” and “Sweeney Todd”, all at the Adelphi.

Molly Lynch most recently appeared in English National Opera’s “Carousel” at the Coliseum, where she has also appeared in “Sweeney Todd”. Her other credits include “Fiddler on the Roof” at Grange Park Opera.

Dougie Carter recently played ‘Jean-Michel’ in the national tour of “La Cage Aux Folles”. His West End theatre credits include “Les Misérables” at the Queen’s Theatre and “Alice” at St James Theatre.

Carl Sanderson’s many West End credits include “Cats”, “The Phantom of the Opera”, “Acorn Antiques – The Musical” and “Starlight Express”. His other theatre credits include the national tours of “My Fair Lady” and “Hairspray” as well as “Guys and Dolls”, “The Music Man” and “The Pajama Game” all at Chichester Festival Theatre.

One of the all-time great musicals, Andrew Lloyd Webber’s Tony Award®-winning (Best Musical, Best Original Score and Best Book of a Musical) masterpiece SUNSET BOULEVARD is a compelling story of romance and obsession, based on Billy Wilder’s legendary film, with Don Black and Christopher Hampton’s wonderful book and lyrics. This much-loved score includes the title number Sunset Boulevard, With One Look, As If We Never Said Goodbye, The Greatest Star Of All and The Perfect Year and will be performed by a full orchestra.

In her mansion on Sunset Boulevard, faded, silent-screen goddess, Norma Desmond, lives in a fantasy world. Impoverished screen writer, Joe Gillis, on the run from debt collectors, stumbles into her reclusive world. Persuaded to work on Norma’s ‘masterpiece’, a film script that she believes will put her back in front of the cameras, he is seduced by her and her luxurious life-style.  Joe becomes entrapped in a claustrophobic world until his love for another woman leads him to try and break free with dramatic consequences.

SUNSET BOULEVARD UK AND IRELAND TOUR 2017/18 – sunsetboulevardthemusical.com

2017

SATURDAY 16 SEPTEMBER – SATURDAY 30 SEPTEMBER

CURVE, LEICESTER  www.curveonline.co.uk

TUESDAY 3 OCTOBER – SATURDAY 7 OCTOBER

EDINBURGH PLAYHOUSE www.atgtickets.com/edinburgh

MONDAY 9 OCTOBER – SATURDAY 14 OCTOBER

NEWCASTLE THEATRE ROYAL www.theatreroyal.co.uk

MONDAY 16 OCTOBER – SATURDAY 21 OCTOBER

SWANSEA GRAND THEATRE  www.swanseagrand.co.uk

MONDAY 23 OCTOBER – SATURDAY 4 NOVEMBER

MANCHESTER PALACE www.atgtickets.com/manchester

MONDAY 6 NOVEMBER – SATURDAY 11 NOVEMBER

HIS MAJESTY’S THEATRE, ABERDEEN www.aberdeenperformingarts.com/venues/his-majestys-theatre

MONDAY 13 NOVEMBER – SATURDAY 18 NOVEMBER

BIRMINGHAM HIPPODROME www.birminghamhippodrome.com

MONDAY 20 NOVEMBER – SATURDAY 25 NOVEMBER

BORD GAIS ENERGY THEATRE, DUBLIN www.bordgaisenergytheatre.ie

TUESDAY 28 NOVEMBER – SATURDAY 2 DECEMBER

MILTON KEYNES THEATRE www.atgtickets.com/miltonkeynes

Old Red Lion Theatre 27 June – 22 July.  Reviewed by Claire Roderick

You leave some plays with a warm and fuzzy feeling, well Mumburger certainly isn’t one of them; instead you will probably leave feeling uncomfortable and questions flying around inside your head, but thoroughly entertained.

Mum has died, in a crash with a Birdseye lorry on the M25, and Tiffany is trying to sort out funeral plans. Unfortunately, her dad is almost catatonic with grief, and shows no interest in her spreadsheets and to do lists. Any plans are set aside however, when a surprise delivery arrives. Mum had already made arrangements, deciding on a digestive memorial, and Tiffany and dad are faced with the consequences – a greasy bag of mumburgers. This surreal plot twist lifts an already engaging play into the realms of theatrical brilliance, as the audience’s senses are battered with images, sounds and smells that leaves you as stunned as the characters.

The complicated relationship between Tiffany and her dad – trying, and wondering if it’s worth it, to reconnect after years of indifference – is portrayed to great effect by Andrew Frame and Rosie Wyatt. Both actors are totally convincing in their grief. Both characters are in turn annoying, frustrating, pitiful and funny, and the pauses and glances say as much as their words, thanks to the talented cast. Sarah Kosar’s script is sharp and witty, asking lots of awkward questions that have no black or white answers, only shades of grey. The character of mum hangs over the play, and as we hear more about her, it’s obvious why the two can’t really cope – she was the boss, running a vegan household, yet making them eat roadkill and dead pets. Springing the surprise of her burger delivery doesn’t seem out of character, but whether this was an act of love or a power play is up for debate.

As Tiffany and dad struggle with whether to fulfil her last wishes, Kosar lets rip with fantastic spoken word passages from Tiffany, accompanied by disorienting clips of rollercoasters and accidents, as dad tries to become the father Tiffany needs by watching Father of the Bride.

And then they begin to cook. As the actors gasp and gag as they blowtorch the burgers, the audience reaction is audible. There were groans, moans, and a lot of sniffing. My goodness, mum smelled good… Even though you know it’s not real, when they eat the burgers, it is excruciating – again down to the brilliant writing and performances. But just as it gets too much, there’s a killer line that draws laughs of relief – my favourite being “She was 5’9’’ – there must be more left!”

Mumburger is a wonderful cringemaking study of grief, family obligations and social taboos, and is also damn funny. You’ll never have seen anything like this before – grab a ticket while you can.

Park Theatre, 27 June – 22 July.  Reviewed by Claire Roderick

Chuck Anderson’s new play has a very important message about the presence of industrial chemicals in the environment, and the battle between corporations and scientists over whether the levels in the environment are high enough to damage humans. Unfortunately, the message gets lost in a cliched David versus Goliath story that we’ve all seen before.

Alchemex, makers of the world’s leading weed killer, offer scientist P.G. Washington a research grant to continue his work on the effects of a chemical in the weed killer on the hormones of frogs. When his results become awkward for the company, he refuses to back down, instead publicising the risks of the weed killer. This leads to the company’s PR machine launching a campaign to discredit Prez and his work to protect their interests.

The main problem are the scientists – Prez is just too easy a target for Alchemex. Dreadlocked, dressed like a children’s entertainer, brought up on a sink estate, an egotistical anti-establishment showman, he has all the “interesting” traits a flawed hero has in a Hollywood movie. And is just as annoying – remember Patch Adams? If Prez had been a dull, quiet scientist, this could have been a much more interesting play with less obvious plot points. Mensah Bediako does a great job trying to give the character a little humanity, there are some cracking one-liners, but Prez is not a fully rounded character. The adoration of his research assistant Sandy (Emma Mulkern) is laid on with a trowel – again, it’s nothing to do with the acting, Mulkern gives a splendid performance as the socially inept student with attachment issues – the audience is drip fed her past, and so are given a reason for her adoration of Prez; and needy, lost people clinging on to the feeling of family by revering an unsuitable father figure is a real danger, but it all gets a little melodramatic and overblown. The voice of Alchemex is Rona (Nina Toussaint-White), loyal to the company and willing to stoop to any level to protect the brand. Toussaint-White has a tough job, as Rona is a complete blank, only showing the slightest hint of emotion. Math Sams as Pennington has the most interesting character arc – a scientist, but a complicit company man, whose disillusionment and disgust at what is going on finally leads to him growing a spine.

Chuck Anderson certainly knows his facts, but The View From Nowhere struggles to engage emotionally. The story begins interestingly, but then lurches sharply into TV movie of the week territory. The cast, at times, seem to be concentrating so much on the technical jargon that they forget characters’ names, although I am sure that this will improve during the run. Even the supposedly dramatic climax is puzzling and feels rushed – it just doesn’t ring true. The framing of the play as Prez’s lectures works well though, as does the set design, with projections of cells and formulae on the floor.

The View From Nowhere is a well-intentioned, but flawed attempt at highlighting a serious issue – like the hermaphrodite frogs in the experiments, this play doesn’t seem to have a definite identity and the message gets bogged down in a weekly sketched character study.

Jack Studio Theatre 27 June – 15 July.  Reviewed by Claire Roderick

In the land of our fathers, it’s the buried sins of our mothers that destroy our dreams. Wales in the 1980s wasn’t the most optimistic of places, with the death throes of the mining industry and rising unemployment leaving many families and communities in desperate trouble. Sid, Boyo and Gwenny live with their mother in a forgotten town, where the only hope of employment is labouring at the new open cast mine. As the cast creeps nearer to their house, the family refuse to leave, and mam’s eccentricities become increasingly worrying. Told by mam that their father left and went to America when they were young, Sid and Gwenny become obsessed with leaving, and build an idyllic vision of what life in America would be like. Their discovery of Kerouac’s Life on the Road leads them down a nauseating spiral of escapism and fantasy that ends in tragedy. As Sid and Gwenny play at being Jack and Joyce, quoting lines and acting out parts of the book, Boyo can only watch in disbelief and rising horror as he sees his fragile sister disappearing before his eyes. Meanwhile mam’s episodes become more sinister, with talk of blood on the walls, as buried secrets are unearthed.

All very cheerful, but there is a huge amount of dark humour and laugh out loud punchlines in Ed Thomas’s often poetic script. There are moments of wonderful absurdist humour – most memorable being mam in Welsh bonnet eating a bowl of imaginary cawl – gentle riffing philosophy, and shocking violence. Just like a night in the rugby club really. There is a more positive global image of Wales nowadays, but the scars of mining are still deep, and the story is as relevant today as it was in the 80s as austerity bites and communities face financial uncertainty.

The Welsh cast (so no dodgy accents here) are completely believable as this tight knit family. You wouldn’t want to live next door to them, but the cast manage to keep the characters sympathetic even when they are carrying out unconscionable acts. Pete Grimwood and Evelyn Campbell are devastating as Sid and Gwenny, and Robert Durbin will break your heart as Boyo, as his strength gradually crumbles as he realises what has been going on. Lowri Lewis as mam is fantastic – in turns pathetic, defiant, sweet and impish – and convinces as the matriarch determined to keep her family together at home at any cost.

The set is dark and grim, with clever lighting design isolating characters without the need for long scene changes and ramping up the feeling of claustrophobia as the play progresses. My only gripe is the delicacy of the sound effects. An open cast is LOUD. Maybe if the blast siren and explosions were at a more realistic level, the claustrophobia and fragility of the house and family would be even more palpable?

An assured, thought provoking and compelling production, House of America is well worth a look.

Musicals Pub Quiz (Fundraiser For Wheelchair Access)

Majestic Theatre – Darlington

14 July at 18:30–22:30

Calling all theatre buffs! Think you know your Travoltas from your Newton-Johns? Your Jean Valjean from your Javert? Get yourself down to The Majestic Theatre on Friday 14th of July and show us just how much you know about musicals!

After the success of our Disney Pub Quiz, The Majestic Theatre Darlington is proud to be hosting another fun filled pub quiz to raise funds for wheelchair access to the building.

Be ready to get those brains working to prove you’re the team with the most extensive musicals knowledge and be in with a chance of winning free tickets to shows and a £30 bar tab!

Tickets cost just £2 per person, with a maximum of 6 members per team. There will be a raffle and prizes to be won for best team name too! All profits raised from the quiz will go towards making our amazing theatre wheelchair accessible.

There are a limited number of tickets for this event and will sell out quick, so get your tickets while you can! The bar will be open from 6.30pm and Quiz starting at 8pm. Looking forward to seeing you at The Majestic for a night of cocktails, quizzing and musicals!

Buy tickets on line at http://www.majestic-tickets.co.uk/

London Palladium 29 June – 9 September.  Reviewed by Claire Roderick

If you’re looking for an evening of gleeful giddiness and family fun, grab your tickets to The Wind in the Willows while you can. Jamie Hendry has a sure-fire hit on his hands with this superb adaptation of the classic children’s book.

Rat and his new friend Mole enjoy an idyllic life on the riverbank until Mr Toad’s thrill-seeking quest for speed leads to disaster and the rise of the animals from The Wild Wood. While Mr Toad is imprisoned for traffic offences, the Wild Wooders kidnap Portia the otter pup and fatten her up for a feast in their new home, Toad Hall. Can Badger save the day?

With a book by Julian Fellowes and music and lyrics by George Stiles and Anthony Drewe, you expect a class act, and this show doesn’t disappoint. The themes of friendship, loyalty and finding joy in simple pleasures are presented by Fellowes with charm and humour. The set and costume design by Peter McKintosh are magical in their simplicity, and create a picture book feel to the whole show, that never be comes garishly cartoonlike. Whether it’s the rolling riverbank with curtains of willow branches or the lurid green façade of Toad Hall, every set is evocative and true to Kenneth Grahame’s book. The various vehicles that Mr Toad uses are spectacularly staged – cars, caravan, barge, and the steam train chase is a glorious nod to the Keystone cops. The costumes are gorgeous – with each family of animals wearing identical, very British, clothes and having just simple ears and tails attached to hats, wigs and trousers. The rabbits are all in tweed, the field mice in duffel coats, the foxes are dressed as huntsmen, and the hedgehogs! The hedgehogs are simply brilliant – they must be seen to be believed. And then there’s the pony… It is all homespun yet expertly slick at the same time, and fits the spirit of the story wonderfully.

The musical numbers are all top-notch, with the passing seasons being marked by songs sung by different animals, and the high-octane numbers matching clever and witty lyrics with clever and witty choreography. The Wild Wooders’ choreography is particularly impressive, full of sinister humour and menace. The big production numbers sweep you away on a rush of euphoria – The Greatest Great Escape is spectacular – but the gentler, simple songs are the ones that I’ve been humming. A Place To Come Back To, where Mole sings of the simple pleasures of his humble home, and The Hedgehog’s Nightmare, where a road crossing is attempted are brilliantly written and performed.

The entire cast give amazing performances – both vocal and comic. Rufus Hound was born to play Mr Toad – prancing around like an exuberant and exasperating puppy in a fantastic green wig and glasses, he has the audience in the palm of his hand from the moment he appears on stage – a phenomenal performance. Simon Lipkin as Rat and Craig Mather as Mole are equally impressive in their less showy roles – Lipkin making the most of Rat’s sarcastic lines and Mather delivering Mole’s socially naïve un-PC pronouncements with a wonderful wide-eyed innocence – and their voices! Neil McDermott is almost unrecognisable as the zoot suited Chief Weasel – channelling Russel Brand and a young Arthur Daley to deliver a hysterically villainous performance.

The Wind in the Willows is fantastic fun for all ages, a visual and musical treat that is full of warmth, wit and dizzying daftness. Get down to the Palladium at top speed. Poop Poop!

The Ferryman
By Jez Butterworth
Directed by Sam Mendes

 

• Following unanimous critical acclaim and overwhelming demand for tickets Jez Butterworth’s The Ferryman, directed by Sam Mendes, will today extend its run at the Gielgud Theatre until 6 January 2018.  Tickets for the extension go on sale today at 10am.
• £12 Day seats including the entire front row are available for each performance from 10.30am in person at the Gielgud Theatre Box office

The producers, Sonia Friedman Productions, Neal Street Productions and Royal Court Theatre Productions, are delighted to announce that Jez Butterworth’s The Ferryman, directed by Sam Mendes, will extend its run at the Gielgud Theatre until 6 January 2018.  The production won widespread critical acclaim when it opened at the Royal Court and was the fastest selling show in the theatre’s history.  This phenomenal success has continued at the Gielgud Theatre where it has been playing to sold-out houses, with early morning queues on Shaftesbury Avenue for the £12 day seats each day.

The Ferryman is directed by Sam Mendes, designed by Rob Howell, with lighting by Peter Mumford, and sound and original music by Nick Powell. Full casting for the extension will be confirmed soon.

 

Listings:

Sonia Friedman Productions, Neal Street Productions 
& Royal Court Theatre Productions 
with Rupert Gavin, Gavin Kalin Productions, Ron Kastner and Tulchin Bartner Productions
present
The Ferryman
By Jez Butterworth
Directed by Sam Mendes

Designer Rob Howell
Lighting Designer Peter Mumford
Composer & Sound Designer Nick Powell

Casting Director Amy Ball CDG

Gielgud Theatre
Shaftesbury Ave, Soho, London W1D 6AR
Until 6 January 2018
Box Office: 0844 482 5130*
*calls cost up to 7p per minute plus your standard network charge
Online: www.TheFerrymanPlay.com
Monday to Saturday 7.00pm, Wednesday and Saturday matinees 1.30pm. 
There will be no performances on Christmas Day or Boxing Day and extra performances added – check online for full details.

Day seats will be available to purchase at £12 for every performance from 10.30am at the Box Office in person
Premium tickets are available

Age Guidance 14+ Contains strong language

Twitter: @TheFerrymanPlay
Facebook: /TheFerrymanPlay
#TheFerryman

THE STEPMOTHER by Githa Sowerby

Directed by Richard Eyre

11 August – 9 September, Minerva Theatre

Casting has been announced for Richard Eyre’s production of THE STEPMOTHER by Githa Sowerby. The distinguished company is David Bark-Jones, Kaye Brown, Simon Chandler, Joanna David, Will Keen (as Eustace Gaydon), Ophelia Lovibond (as Lois Relph), Macy Nyman,Eve Ponsonby, Samuel Valentine and Sharon Wattis. The production runs at Chichester’s Minerva Theatre from 11 August – 9 September, with a press night on 17 August.

1924. A comfortable house in Surrey. When the orphaned Lois Relph accepts a marriage proposal from an older man, Eustace Gaydon, she believes she’s been rescued from an uncertain future. Establishing a successful business as a dress designer, Lois leaves her fortune in her husband’s hands.

But when one of her devoted step-daughters needs her help, Lois is forced to address what drew Eustace to her in the first place – and, at last, to face the dark truth at the heart of her marriage.

This gripping drama is a searing look at manipulation, money and matrimony. What price a woman’s autonomy within a man’s world?

Playwright Githa Sowerby’s most famous play, Rutherford and Son, is acknowledged as one of the most influential plays of the 20^th century.

 

Richard Eyre returns to Chichester to direct this rediscovered gem; formerly Director of the National Theatre, his work at Chichester includes The Pajama Game and The Last Cigarette, while recent productions also include his award-winning revival of Ghosts (Almeida, West End & New York).

Ophelia Lovibond plays Lois Relph; best known for the television series W1A, Elementary andHooten and The Lady, her theatre work includes The Libertine in the West End and The Effect at Sheffield Crucible, while films include Guardians of the Galaxy and Tommy’s Honour.

Will Keen makes his Chichester debut as Eustace Gaydon. His recent television work includes The Crown, Wolf Hall, Sherlock and The Three Musketeers, while his extensive theatre work includes Pastor Manders in Richard Eyre’s award-winning production of Ghosts (Almeida, West End and New York).

The production will be designed by Tim Hatley, with lighting by Peter Mumford and sound by John Leonard.

 

The Stepmother is sponsored by Hentys Corporate.

EVENTS

Pre-Show Talk with Richard Eyre Wednesday 16 August, 6pm

Free but booking essential.

 

Post-Show Talk                                Tuesday 29 August

Stay after the performance to ask questions, meet company members and discover more. Free.

BOOKING INFORMATION

Box Office 01243 781312

Online cft.org.uk

 

Tickets from £20. Prologue tickets for 16 – 25 year olds for £5.

Gypsy Grand Opera House York – Until 1 July.  Reviewed by Michelle Richardson

Pick Me Up Theatre brings the Jule Styne and Stephen Sondheim musical Gypsy to the Grand Opera House for the first time in 25 years.

Gypsy is based on the true story of the legendary burlesque entertainer Gypsy Rose Lee. It tells the tale of Momma Rose, the pushy stage mother trying to live vicariously through her 2 daughters, Baby June and Louise, travelling from town to town with their vaudeville act, with the help of Herbie, Nick Lewis. Unfortunately for Momma Rose times are changing and the 2 girls have very different ambitions in life.

Susannah Baines plays the lead with her powerful vocals, shown to full effect with numbers like Everything’s Coming Up Roses and Rose’s Turn. We meet the 2 girls as youngsters with Baby June, Allyssia Hanley, appearing to have all the talent and being the blue-eyed girl, whilst poor Louise, Flossie Attwood, is the awkward, “ugly duckling”. Everything revolves around Baby Jane and her signature tune Let Me Entertain You, which is fine when a small girl, but becomes more and more implausible as she gets older and is still doing the same routine. We see a transition from the young Baby June and Louise, to their older selves, Maya Tether and Maren Fageras Naevdal, this was very clever how they achieved this on stage, with a dance routine.

The first act revolved around Baby Jane’s career, and Tether portrayed it well, becoming disenchanted with pretending to be so much younger than she really is, before rebelling and eloping with a member of their troupe. For the second act, we see Momma Rose heap all the pressure on a very reluctant Louise, that is until their booking at a burlesque club, then it really all changes. From being the talentless performer Louise, she truly turns into a gorgeous swan and becomes Gypsy Rose Lee. We see Naevdal transforming before our eyes and are thoroughly convinced of her seduction in the apparent seedy world of burlesque.

At times the scene changes were a bit cumbersome and too long, but on a more positive note we all loved the cow. There seemed to be a slight problem with the microphones most of the show, but it wasn’t really that noticeable and hopefully that will be sorted for future shows.

It was great to see the use of a live orchestra and they did a fantastic job. I always enjoy going to see local productions and whilst this isn’t the best I’ve seen there are some solid performances, decent singing and some good chemistry from the hard working cast.

Showing in York until Saturday 1st July.