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RAISING MARTHA

 

NEW CASTING ANNOUNCED

WASTED, MISFITS & GAME OF THRONES’ ACTRESS GWYNETH KEYWORTH JOINS CAST AS MORGANA ROBINSON WITHDRAWS FROM PRODUCTION FOR PERSONAL REASONS

 

OLIVIER AWARD WINNER FOR SHOCKHEADED PETER & DR WHO’S ‘DAVROS’

JULIAN BLEACH ALSO JOINS CAST

 

TO STAR ALONGSIDE HARRY POTTER & DROP THE DEAD DONKEY STAR JEFF RAWLE, TOM BENNETT, JASPER BRITTON & GAME OF THRONES’ JOEL FRY

IN DARK NEW COMEDY

 

Animal Rights. Family Secrets. Grave Consequences. 

 

Raising Martha, a brand new dark comedy by award-winning writer David Spicer, and directed by Michael Fentiman, will have its world premiere at Park Theatre from 12 January 2017, playing until 11 February, with a press night on Tuesday 17 February.

Morgana Robinson has unfortunately had to withdraw from the production due to unforeseen personal reasons, but the producers are happy to announce that Gwyneth Keyworth will join the cast to play ‘Caro’. Keyworth has most recently starred as ‘Alison’ in E4’s cult show Wasted, with other notable screen appearances in Channel 4’s Powder Monkeys, HBO’s Game of Thrones, ITV’s Dr Thorne and E4’s Misfits. Described by The Guardian’s Lyn Gardner as ‘heartbreakingly good’ in the Bristol Old Vic production of The Life and Times of Fanny Hill, she was most recently seen in the Globe’s acclaimed revival of The Heresy of Love.

Julian Bleach, co-creator and MC of Shockheaded Peter (2002 Olivier Award for Best Entertainment), best known for his role as the evil ‘Davros’ in Dr Who, and recently seen in the acclaimed Grinning Man at the Bristol Old Vic, joins the company to play ‘Roger’. Other screen credits include Torchwood, The Sarah-Jane Adventures, Psychovilleand The Borgias, whilst his stage credits include Oliver! (Theatre Royal Drury Lane), The Firework Maker’s Daughter(Sheffield) and Every Good Boy Deserves Favour (NT)

Gerry and Roger’s mum has gone missing. Well, most of her has…

 

The unwitting victims of animal rights activists campaigning for the freedom of the family frog farm’s slimy inhabitants, the brothers must bring in the hapless Inspector Clout to establish the whereabouts of their long-dead mother. An absurdly funny, dark comedy starring the finest comedy ensemble live on stage, Raising Martha tackles terrorism, animal rights and six-foot frogs!

 

As previously announced, Tom Bennett (Netflix’s Mascots, E4’s Phone Shop) will play ‘Marc’; Jasper Britton (Richard II, RSC, The Libertine, Theatre Royal Haymarket), will play ‘Gerry’; Joel Fry (ITV’s Plebs, HBO’s Game of Thrones, Sky’s You, Me and the Apocalypse) will play ‘Jago’; and Jeff Rawle, (Channel 4’s Drop the Dead Donkey, Handbagged, Tricycle / West End, Harry Potter & The Goblet of Fire) will join the cast to play ‘Inspector Clout’.

Raising Martha is produced by Michael James Cox and Tom O’Connell, directed by Michael Fentiman, with set and costume design by Rebecca Brower, sound design by Max Pappenheim, lighting design by Eliot Griggs, costume supervision by Ryan Walklett, and casting by Anne Vosser.

Michael James Cox said, “I’m very excited and proud to be producing this hilarious new comedy along with Tom O’Connell Productions. This project has been very close to my heart for a long time and I’m thrilled to be working with such a wonderful theatre.”

Tom O’Connell said, “After our sell-out success with The Boys in the Band, we are thrilled to be working on a brand new piece of theatre with a stellar comedy cast who I know will be electric to watch in the intimate Park Theatre. We send on our best wishes to Morgana, who was a pleasure to work with, and are thrilled that the very talented and hilarious Gwyneth Keyworth is joining the family.”

REVIEW: SLEEPING BEAUTY (Sunderland Empire) ★★★

December 12, 2016 

For: West End Wilma 

https://www.westendwilma.com/review-sleeping-beauty-sunderland/

Empire Theatre Sunderland’s annual pantomime, this year, comes from the reliable UK Productions stable providing all the traditional ingredients such a glitzy show should offer. Sleeping Beauty was warmly received by a packed auditorium of excited youngsters on press night.

Sleeping Beauty tells the well-known story of a Princess (Amy-Leigh Hickman) who is cursed by evil witch Carabosse (Vicky Entwistle) and is in danger of death if she pricks her finger on a spinning wheel before she turns 18. Thankfully the Princess has a Fairy Godmother (Faye Tozer) that changes the curse so that if the Princess does prick her finger, she’ll go to sleep for 100 years rather than die.

As is tradition with panto, the plot is merely a vehicle to hang the set pieces and jokes on whilst keeping the audience’s attention. The show mixes in pop culture references with well-known songs, regional mentions such as Fairy Primarni from Marley Pots to the brilliantly-named King Winston of Witherwack and topical jokes.

The first act of this well known fairy tale whizzes along at breakneck speed, the cast are on fire and the chemistry between them is fun, it’s great to see them all attacking the show with plenty of energy and commitment. None more so than from the excellent Andrew Agnew as Silly Billy, he whizzes around the stage like a Duracell bunny on speed, he has a great rapport with the audience and never fails to bring a sense of mischief to proceedings with his slapstick humour and infectious audience interaction.

Vicky Entwistle’s delightfully evil Carabosse steals the show and performs brilliantly whenever she’s onstage – on the ground, in the air, singing. Imagine Janice Battersby playing Angelina Jolie’s Maleficent and you’ll get the idea. She can sing and she has a fabulous pair of legs for her high kicking dance number.

With Princess Rose kissed and awoken ten minutes into the second act, extra plot is required to fill the remaining scenes. Here, in the lead up to the Royal Wedding, Carabosse decides to kidnap the Happy Couple and marry the Prince, only to be thwarted when Princess Rose escapes and revives Prince Phillip with true love’s kiss.

Marcus Knibbs, as the King, gives a jolly performance and his rap attack with Silly Billy is a real highlight. Amy-Leigh Hickman and Arthur Boan as Sleeping Beauty and the Prince are a well matched and a believable couple. And Bobby Crush is outstanding as Nurse Nelly, the outfits are as fabulous as a Dame should be and his flirting with Danny in the audience is hilarious. For me, it was a shame, that he only had a tiny segment in which he could play piano – and I would have liked to have seen and heard more. Faye Tozer’s Fairy Snowflake was good – with her script packed with Step’s references and she got to sing a Steps medley during the show.

The Kathleen Davis Stage School, Muriel Harrison School of Dance and Drama and the Shameem Karim School of Performing Arts provided the dancing village children – including a tiny tot who played an adorable lamb.

Packed to the rafters with joke after joke and obligatory digs at the local area the humour is well balanced for the children as well as the adults in the audience. The visual highlight of the show is during the Prince’s time travelling journey, utilising a clever use of lighting and projections. Directed by Andrew Agnew he has delivered a fast-paced and slickly produced pantomime that provides plenty of fun – the magic mirror scene is a hoot and a stunning lighting design brings plenty of colour to the proceedings. An enjoyable evening in Pantoland with a first-rate cast. At two hours forty five minutes including the interval it is a little long and some of the younger members of the audience start to lose their attention spans towards the conclusion of the evening. But for an evening of family fun it would be hard to beat.

Mark Goucher and Mark Rubinstein present
THE MISER
Written by Molière
Freely adapted by Sean Foley and Phil Porter
Directed by Sean Foley

• MATHEW HORNE WILL JOIN GRIFF RHYS JONES AND LEE MACK IN THE MISER IN LONDON’S WEST END

• FULL CAST ANNOUNCED TODAY AND BRAND NEW IMAGES RELEASED

• THE MISER WILL PLAY AT THE GARRICK THEATRE IN THE WEST END WITH PREVIEWS FROM 1 MARCH, FOLLOWING PERFORMANCES IN BATH AND RICHMOND, TICKETS ARE ON SALE NOW

Full casting has today been announced for a major West End revival of Molière’s classic comedy The Miser. The full cast, which includes Mathew Horne, join previously announced Griff Rhys Jones who returns to the West End stage after a five year absence and Lee Mack who makes his West End debut. The play has been newly adapted by Sean Foley and Phil Porter, and will be presented at Bath Theatre Royal and Richmond Theatre, prior to opening at the Garrick Theatre in London’s West End on Wednesday 1st March 2017, with an opening night on Monday 13th March 2017.

The full West End cast includes: Griff Rhys Jones, Lee Mack, Mathew Horne, Saikat Ahamed, Ryan Gage, Simon Holmes, Andi Osho, Michael Webber, Ellie White and Katy Wix.

Griff Rhys Jones is a two-time Olivier award-winning actor, writer, presenter and comedian. On stage, he has appeared as Fagin in Cameron Mackintosh’s Oliver! (West End), the title role in Charley’s Aunt (West End) and in Feydeau’s An Absolute Turkey (The Globe). In a long-lasting comedy partnership with Mel Smith, his television credits include Not the Nine O’Clock News(BBC), Alas Smith and Jones (BBC), The World According to Smith and Jones (ITV), Smith and Jones in Small Doses (BBC) and Smith and Jones (BBC).

Best known for television and stand-up work, Lee Mack is widely recognised as one of the country’s favourite comedians and has won multiple awards. He is the writer and star of hit BBC One comedy, Not Going Out, which has run for seven series and holds the accolade of being the BBC’s longest running sitcom.  He is a team captain on popular BBC panel show Would I Lie to You, the host of Duck Quacks Don’t Echo on Sky One and a regular guest on panel shows, including Have I Got News for You, Nevermind the Buzzcocks and 8 out of 10 Cats Does Countdown. Lee has also toured the country with multiple sell-out stand up shows.

Mathew Horne has worked extensively in television where his credits include Are You Being Served?, Agatha Raisin, Worried About the Boy, Nan, Bad Education, Gavin & Stacey, Teachers and The Catherine Tate Show. His stage work includes Pride (Trafalgar Studios/ tour), Charley’s Aunt (Menier Chocolate Factory/ Theatre Royal Bath) and Entertaining Mr.Sloane /Trafalgar Studios).

Saikat Ahamed’s recent theatre credits include Peter Pan (National Theatre), A Midsummer Night’s Dream (New Wolsey Theatre Ipswich), Strictly Balti (UK tour), 101 Dalmatians (Bristol Tobacco Factory) and A Midsummer Night’s Dream (Bristol Old Vic). Television credits include Nadeem, Trollied, Being Human and Afterlife. Film work includes This Must be the Place and East is East.  

Ryan Gage’s television and film credits include King Louis XIII in BBC One and BBC America drama The Musketeers as well as the feature film series The Hobbit and the film Serial Thriller: Angel in Decay. His stage credits include Ghost Stories (Lyric/ West End), The Lawes of War(Royal Court) and numerous credits with the RSC.

Simon Holmes’ recent theatre credits include Ghost Stories (West End), Yes Prime Minister(Chichester Festival Theatre/ UK tour), Romeo & Juliet (Chocolate Factory) and The Cherry Orchard (Manchester Lowry). Film work includes V for Vendetta and Private Moments. Television credits include Doctors, Casualty, Silent Witness and Bad Blood.

Andi Osho has worked across stage, stand-up comedy, television and feature film. Her theatre credits include Breakfast with Mugabe (Theatre Royal Bath) and Yellowman (Theatre Royal Liverpool/ UK tour). She has performed on Michael McIntyre’s Comedy Roadshow, Stand Up For The Week and Live At The Apollo. Recent television work includes Finding Carter, Psychoville, Life of Riley and The Andi O Show. Film credits include Swinging with the Finkels and Lights Out.

Michael Webber’s theatre credits include Cyrano (Chichester Festival Theatre) and Cause Celebre (Old Vic). His extensive film credits include Hysteria, Sherlock Holmes 2, The Scouting Book for Boys, Children of Men and Stormbreaker. Television work includes Black Mirror ‘The Waldo Moment’, What Remains, Little Dorrit, Wire in the Blood and Hustle.

Ellie White recently appeared in The Windsors on Channel 4. Other television credits include Carters Get Rich, Class Dismissed, Murder in Successville and House of Fools. Humans, her debut solo show, ran at Edinburgh Festival with the Invisible Dot. She also works on ITV 2’s current affairs comedy show @ELEVNISH and has filmed a comedy sketch pilot for BBC3.

Katy Wix is best known for her television work and has appeared regularly alongside Lee Mack in Not Going Out as Daisy. Her other television work includes Decline and Fall, Sherlock, Agatha Raisin, Miranda all for the BBC, Anna and Katy and The Windsors for Channel 4. She has also appeared on panel shows such as Never Mind the Buzzcocks and Would I Lie to You. Her previous stage work includes Holes (The Invisible Dot) and Psister Psycho (Edinburgh Fringe). Her writing credits include Anna and Katy for Channel 4 and Bird Island for the BBC.

Sean Foley is an award-winning actor, writer and director. He co-founded The Right Size, creating over 10 original comedies for the theatre including the Olivier Award-winning and Tony-nominated production of The Play What I Wrote (Best Comedy 2002), Do You Come Here Often? (Best Entertainment 1999), and Ducktastic! (Albery Theatre – Best Entertainment nomination 2006). As director his work includes The Dresser, The Painkiller, Jeeves and Wooster in Perfect Nonsense (Best New Comedy 2014), The Walworth Farce (The Olympia Theatre, Dublin), the multi Olivier-nominated The Ladykillers (Liverpool Everyman, Gielgud Theatre, UK Tour), A Mad World My Masters (Royal Shakespeare Company & Barbican), What The Butler Saw (Vaudeville Theatre), The Painkiller (The Lyric Theatre, Belfast), Arturo Brachetti – Change (Garrick – Best Entertainment nomination 2010) , The Critic/The Real Inspector Hound (Chichester Festival Theatre), The Armstrong and Miller Show Live UK Tour and I Can’t Sing! (London Palladium). Foley’s first film Mindhorn was released this autumn.

Mark Goucher has previously collaborated with Sean Foley, most recently on The Dresser at the Duke of York’s Theatre, as well as on the hugely successful production of Jeeves and Wooster in Perfect Nonsense which played in the West End and on tour and is currently under option for a Broadway season.

The Miser will be produced with long term producing partner Mark Rubinstein Ltd.

David King for Spirit Productions Ltd presents

 

BROADWAY’S MULTI AWARD WINNING MUSICAL COMEDY

 

THOROUGHLY MODERN MILLIE

 

TO TOUR THE UK IN 2017

 

WITH STRICTLY COME DANCING’S JOANNE CLIFTON AS MILLIE

LEADING TELEVISION AND STAGE ACTRESS MICHELLE COLLINS AS MRS MEERS

 

Award winning musical Thoroughly Modern Millie is set to tour the UK in 2017 opening at New Wimbledon Theatre on Tuesday 17 January.

2016 Strictly Come Dancing finalist, World Ballroom Showdance Champion and Professional Dancer Joanne Clifton will take on the title role of Millie Dillmount, a Kansas girl determined to make it big in New York City! Joanne’s credits include Face the Music, Burn the Floor, Strictly Live Tour and Marilyn Monroe in Norma Jeane Musical.

Michelle Collins will join the cast of Thoroughly Modern Millie until Saturday 4 March as Mrs Meers. She has worked extensively in television and theatre for the last 30 years and is perhaps best known for her roles as Cindy Beale in EastEnders and Stella Price in Coronation Street. Her theatre credits include Calendar Girls (West End), The Play What I Wrote (West End), Chitty Chitty Bang Bang (UK Tour) and most recently Kindertransport (Chickenshed, London).

The cast is completed by Sam Barrett (Jimmy Smith), Graham McDuff (Trevor Graydon), Katherine Glover (Miss Dorothy), Jenny Fitzpatrick (Muzzy), Catherine Mort (Miss Flannery), Damian Buhagiar (Ching Ho), Andy Yau (Bun Foo), Emma Housley, David Muscat, Alice Baker, Lottie Summers, Laura Marie Benson, Bobby Williams, Marios Nicolaides and Laura Wilson.

Winner of six Tony Awards including Best Musical, Thoroughly Modern Millie is based on the 1967 Academy Award-winning film. Taking you back to the height of the Jazz Age in 1920s New York City, when ‘moderns’ including a flapper named Millie Dillmount were bobbing their hair, raising their hemlines, entering the workforce and rewriting the rules of love.

From explosive tap numbers to a ‘Fred and Ginger’ dance routine on a window ledge, and featuring hit songs including Gimme Gimme, Thoroughly Modern Millie and Not for the Life of Me Thoroughly Modern Millie is a brilliantly funny and entertaining show for all the family.

Tickets for Thoroughly Modern Millie are on sale now.

 

WEBSITE | TWITTER

 

THOROUGHLY MODERN MILLIE

 

Book by Richard Morris and Dick Scanlan

New Music by Jeanine Tesori

New Lyrics by Dick Scanlan

Original Story and Screenplay by Richard Morris for the Universal Pictures Film

Presented by arrangement with Music Theatre International (Europe) Limited

Director and Choreographer Racky Plews

Musical Director Robert Wicks

Casting Director Sue Talbert

Celebrity Casting Advisor Bambi Haines

Executive Producer David King

Lead Producer Graham King

THOROUGHLY MODERN MILLIE – 2017 UK TOUR DATES

Tuesday 17 – Saturday 21 January                                            Box Office: 0844 871 7646

New Wimbledon Theatre                                                             Website: www.atgtickets.com

Tuesday 24 – Saturday 28 January                                            Box Office: 0844 871 7652

Milton Keynes Theatre                                                                  Website: www.atgtickets.com

Monday 30 January – Saturday 4 February                           Box Office: 0844 871 3014

Edinburgh Playhouse                                                                     Website: www.atgtickets.com

Monday 6 – Saturday 11 February                                            Box Office: 0844 871 7648

Glasgow, King’s Theatre                                                               Website: www.atgtickets.com

Monday 13 – Saturday 18 February                                          Box Office: 0844 871 3011

Birmingham, Alexandra Theatre                                                Website: www.atgtickets.com

Monday 20 – Saturday 25 February                                          Box Office: 0844 871 3017

Liverpool, Empire Theatre                                                            Website: www.atgtickets.com

Monday 27 February – Saturday 4 March                              Box Office: 0844 871 3024

York, Grand Opera House                                                            Website: www.atgtickets.com

Monday 6 – Saturday 11 March                                                 Box Office: 01494 512 000

High Wycombe, Swan Theatre                                                   Website: www.wycombeswan.co.uk

Monday 20 – Saturday 25 March                                               Box Office: 023 9282 8282

Southsea, King’s Theatre                                                              Website: www.kingsportsmouth.co.uk

Monday 27 March – Saturday 1 April                                       Box Office: 0844 871 7607

Aylesbury, Waterside Theatre                                                   Website: www.atgtickets.com

Monday 3 – Saturday 8 April                                                       Box Office: 0844 871 7650

Brighton, Theatre Royal                                                                Website: www.atgtickets.com

Monday 10 – Saturday 15 April                                                   Box Office: 01322 220000

Dartford, Orchard Theatre                                                           Website: www.orchardtheatre.co.uk

Monday 17 – Saturday 22 April                                                   Box Office: 0844 848 2700

Leeds Grand Theatre                                                                     Website: www.leedsgrandtheatre.com

Monday 8 – Saturday 13 May                                                     Box Office: 0844 871 7645

Woking, New Victoria Theatre                                                   Website: www.atgtickets.com

Monday 22 – Saturday 27 May                                                   Box Office: 0844 871 3019

Manchester, Palace Theatre                                                       Website: www.atgtickets.com

Monday 5 – Saturday 10 June                                                     Box Office: 020 3285 6000

Bromley, Churchill Theatre                                                          Website:  www.churchilltheatre.co.uk

Monday 19 – Saturday 24 June                                                  Box Office: 0844 871 3012

Bristol Hippodrome                                                                         Website: www.atgtickets.com

More dates to be announced soon.

ATG OFFERS MAGIC OF CHRISTMAS TO BRITISH TROOPS

 

Thousands of members of the Armed Forces will be laughing their socks off this Christmas as they flock to pantos all over the country thanks to Tickets For Troops and the Ambassador Theatre Group.

The theatre group, which is a long term supporter of the military charity, have offered troops tickets for pantomimes up and down the country including in Woking, Stoke-On-Trent, Torquay, Glasgow, Bristol and London.

Troops will have the opportunity to take their loved ones along to a whole host of musical comedy productions including Cinderella, Aladdin and Sleeping Beauty, enabling families to spend some well-deserved time together after another busy year for the British Armed Forces.

Director of Operations at Tickets For Troops, Veronica Bamford said: “As one of our loyal supporters, ATG have been generously supporting our soldiers, sailors, airmen and women for the last seven years. We are once again extremely grateful to them for coming together as a company for the festive season and providing even more fun and magical experiences for our troops and their families to enjoy together.”

Group Chief Executive Officer at The Ambassador Theatre Group, Mark Cornell said: “Tickets for Troops is a worthy charity and I’m delighted that ATG is continuing to support its annual festive campaign by providing the opportunity for members of the Armed Forces and their families to enjoy a magical night out at one of our pantomimes around the UK this Christmas.”

Many troops who benefit from Tickets For Troops (www.ticketsfortroops.org.uk) endure long periods of separation from their families due to operational tours and training exercises or living apart from their families during the week.

Tickets For Troops was set up in 2009 to provide free tickets to the Armed Forces for sports, music, theatre, cultural and entertainment events across the UK.

The charity has distributed over 950,000 free tickets in the last seven years and is proud to offer tickets to troops which they can share with their loved ones, as a small acknowledgement and reward for the work they do for our country.

Organisations who would like to get involved with the charity and donate free tickets to benefit our servicemen and women can get in contact with Tickets For Troops by emailing [email protected] or calling 0207 932 0808

York Theatre Royal.  Reviewed by Michelle Richardson

Written and co-directed by Berwick Kaler, also directed by Damian Cruden, York Theatre Royal brings you their tale of the classic story of Cinderella. Showing until Saturday 28^th January 2017.

This is Berwick Kaler’s 38^th outing as a dame, an annual tradition, and much loved in York, playing the spiteful Ugly Sister, Hernia. We are treated to a “middle aged Cinderella”, their words not mine, played wonderfully by Suzy Cooper, the wicked step mother, David Leonard, and the other Ugly Sister, Priscilla played by A J Powell, loved his brummie accent. Powell worked well alongside his fellow sister and with the role of Kaler’s stooge, a role usually reserved for Martin Barrass, who was involved in a very serious motorcycle crash earlier this year. I’m pleased to say that after making a brief appearance with a standing ovation, he looks like he is on the mend.

From the onset with Kaler and Powell appearing to still be in costume from last year’s panto, Dick Whittington and his Meerkat, we were treated to lavish sets, colourful costumes and some great singing and dancing from all the cast, well supported by the live band. It was good to see the use of new stage and the scene changes were seamless and I must say the carriage scene when Cinderella goes to ball was stunning and magical.

All the cast did a great job and I must mention Pocklington’s own, Harry Hughes as Buttons, because that it where I live, cheesy I know, but it is nice to get a mention for our small Market Town. I have also got to comment on Leonard’s legs, they are to die for, and those kicks, I was certainly impressed and envious. He played a great villain, as always and great switching during the Baroness and Baron scene.

We were treated to a couple of film sequences, which were a bit odd, especially the one involving Suzi Quatro, a bit pointless I thought, even though it was very current and a take on the very popular Carpool Karoke. At least the one involving Harry Gration and The Rocky Horror Show gave us all a giggle, a brave man indeed.

Cinderella is my favourite fairy tale, so I may be a little biased, but this show is great family entertainment, with quite a few tongue in cheek jokes. I really enjoyed it and thoroughly recommend all to go and see it whilst you can. I look forward to next year’s panto and hopefully seeing the talented Barrass back on stage.

Sunderland Empire Theatre, 9 – 31 December 2016

Empire Theatre Sunderland’s annual pantomime, this year, comes from the reliable UK Productions stable providing all the traditional ingredients such a glitzy show should offer. Sleeping Beauty was warmly received by a packed auditorium of excited youngsters on press night

Sleeping Beauty tells the well-known story of a Princess (Amy-Leigh Hickman) who is cursed by evil witch Carabosse (Vicky Entwistle) and is in danger of death if she pricks her finger on a spinning wheel before she turns 18. Thankfully the Princess has a Fairy Godmother (Faye Tozer) that changes the curse so that if the Princess does prick her finger, she’ll go to sleep for 100 years rather than die.

As is tradition with panto, the plot is merely a vehicle to hang the set pieces and jokes on whilst keeping the audience’s attention. The show mixes in pop culture references with well-known songs, regional mentions such as Fairy Primarni from Marley Pots to the brilliantly-named King Winston of Witherwack and topical jokes.

The first act of this well known fairy tale whizzes along at breakneck speed, the cast are on fire and the chemistry between them is fun, it’s great to see them all attacking the show with plenty of energy and commitment. None more so than from the excellent Andrew Agnew as Silly Billy, he whizzes around the stage like a Duracell bunny on speed, he has a great rapport with the audience and never fails to bring a sense of mischief to proceedings with his slapstick humour and infectious audience interaction.

Vicky Entwistle’s delightfully evil Carabosse steals the show and performs brilliantly whenever she’s onstage – on the ground, in the air, singing. Imagine Janice Battersby playing Angelina Jolie’s Maleficent  and you’ll get the idea.  She can sing and she has a fabulous pair of legs for her high kicking dance number.

With Princess Rose kissed and awoken ten minutes into the second act, extra plot is required to fill the remaining scenes. Here, in the lead up to the Royal Wedding, Carabosse decides to kidnap the Happy Couple and marry the Prince, only to be thwarted when Princess Rose escapes and revives Prince Phillip with true love’s kiss

Marcus Knibbs, as the King, gives a jolly performance and his rap attack with Silly Billy is a real highlight. Amy-Leigh Hickman and Arthur Boan as Sleeping Beauty and the Prince are a well matched and a believable couple.  And Bobby Crush is outstanding as Nurse Nelly, the outfits are as fabulous as a Dame should be and his flirting with Danny in the audience is hilarious.  For me, it was a shame, that he only had a tiny segment in which he could play piano – and I would have liked to have seen and heard more.  Faye Tozer’s Fairy Snowflake was good – with her script  packed with Step’s references and she got to sing a Steps medley during the show

The Kathleen Davis Stage School, Muriel Harrison School of Dance and Drama and the Shameem Karim School of Performing Arts provided the dancing village children – including a tiny tot who played an adorable lamb.

Packed to the rafters with joke after joke and obligatory digs at the local area the humour is well balanced for the children as well as the adults in the audience. The visual highlight of the show is during the Prince’s time travelling journey, utilising a clever use of lighting and projections. Directed by Andrew Agnew he has delivered a fast-paced and slickly produced pantomime that provides plenty of fun – the magic mirror scene is a hoot and a stunning lighting design brings plenty of colour to the proceedings. An enjoyable evening in Pantoland with a first-rate cast.  At two hours forty five minutes including the interval it is a little long and some of the younger members of the audience start to lose their attention spans towards the conclusion of the evening.  But for an evening of family fun it would be hard to beat

Park Theatre 8 December – 7 January.  Reviewed by Claire Roderick

Dramatising CS Lewis’ epistolary novel is a huge task, especially as it deals with now archaic Christian dogma. Fellowship for Performing Arts (whose mission is to present theatre from a Christian worldview that engages a diverse audience) have made an admirable attempt, with some ingenious dramatic flourishes, but this adaptation by Max McLean and Jeffrey Fiske, although an entertaining entry point to the book for new readers, doesn’t quite achieve the magic of CS Lewis’ words inside your own head.

The set is magnificent, cobbled, up lit floor, a backdrop of piled bones and skulls, a rickety ladder linking the levels of hell and a comfy leather wing backed chair kitting out Screwtape’s office in hell. To emphasise Screwtape’s standing, the show includes a prologue based on “Screwtape Proposes a Toast” with Screwtape giving a speech at the Tempters Training College. This allows McLean to dive straight into the first letter from nephew Wormwood, a novice tempter without any further explanation, and works well. As Wormwood’s efforts at tempting the human “patient” away from the Enemy go awry, Screwtape gives a masterclass in setting up the small seemingly insignificant steps and actions that can have huge impact. He is assisted by his assistant Toadpipe – a wordless, animalistic demon who scribes and delivers his letters.

McLean’s performance as Screwtape is full of bluster and very, very theatrical. He has a mellifluous voice, rolling around those wonderful vowel sounds that only American actors can achieve when attempting an upper-class English accent. He portrays Screwtape’s emotional journey with ease, but is slightly too slick for my taste. In his smoking jacket, and with his mostly smiling delivery of evil instruction, he seems more like an aging playboy than a demonic entity – with only a few glimmers of truly satisfying evil coming through. Lewis’ words would be much more effectively delivered with the malice behind the eloquent charm more explicit. This would enhance the humour and drama of the piece too. Lewis’ wit is sharp, but delivered like this it provokes smiles and a few chortles rather than belly laughs.

The most effective moments were when Toadpipe (Karen Eleanor Wight – a fantastic mime) became the human characters in the letters – adding soul and a sense of immediacy to the monologue. The final scene is a triumph, with the wickedness that I wish had been evident throughout finally shining through.

Lewis’ Christian views, like any late convert were strong and uncompromising, and don’t sit too comfortably in modern London, even with such a mocking tone, and, to be brutally frank, the idea of free will and morality has been explored much more effectively and creatively on stage since the novel was published.

The Screwtape Letters is entertaining but flawed, much like Screwtape himself. It just feels a little worthy, which is hard to say about a play starring a demon. The show is a little too long, but it’s worth hanging on in there for the final moments.

Pleasance Theatre 6 December – 2 January,  Reviewed by Claire Roderick

The Cat in the Hat is a perfect Christmas treat for younger children. Dr Seuss’ best known book is brought to anarchic life in this revival of the National Theatre production full of wit and wonder.

On a rainy afternoon, Sally and her brother are left alone in their house by their mother (a fact that shows the age of the book and obviously bothered one young audience member “She’s a naughty mummy!”) Boredom rules, until a mysterious cat in a hat turns up, with Thing 1 and Thing 2, to wreak havoc.

The set and props are all true to the original book’s illustrations – all pencil lines and primary colours (which caused a few problems in the early show for a few bleary-eyed adults who’d been enjoying themselves the night before) and instantly recognisable for the children. The rhyming text of the book is used religiously, along with lots of Tweeniesque oohs and awwws to create a truly childlike and innocent show. Large chunks rely solely on sound effects and music, with some great slo-mo sections amid the cat’s chaos. The cast are in nonstop movement, with great physical comedy and silly tricks. The introduction of Thing 1 and Thing 2 worked well, with only the older children spotting the stage trickery. The adults portraying the two children use childish voices, but don’t go overboard in channelling their inner child. The fish puppet is inspired, with fantastic use of the bowl and the teapot. There are lots of moments that had the young audience cheering and laughing, and the section with bubbles and balloons moved them from gasps of wonder to mass hysteria. The biggest laugh from the grownups came when we saw the Cat’s pimped up mobility scooter.

This production is a fantastic introduction to theatre for children, and will surely have them begging for more. At only 45 minutes, even the most Dr Seuss hating parents can sit through this – it’ll be worth it just to see the joy on the children’s faces.

The Bunker 7 December – 7 January,  Reviewed by Claire Roderick

The Bunker’s inaugural season continues with MUTED, a stunning show that has obviously been a labour of love for Tim Prottey-Jones, Sarah Henley and Tori Allen-Martin throughout its long genesis.

MUTED has a simple plot, told sparingly. Just as his band Lost Boy was on the brink of success, Michael’s overprotective alcoholic mother is killed in a hit and run accident. He hasn’t spoken since, only voicing his thoughts internally through his teenage self, and haunted by guilty memories of his mother, he isolates himself in his room under the care of his uncle. Michael’s former bandmate, Jake, sends his girlfriend Lauren – who used to be with Michael – to see Michael in the hope of getting him to play with the band again. Her visits reawaken hidden feelings for them both.

Having seen the showcase performance of MUTED in the spring, I was keen to see a theatrical production, and director Jamie Jackson has created a slick stylish show. The set is simple but full of meaning, all black, with a walkway around an island surrounded by water – Michael’s room. The water was puzzling at first, but becomes integral during later songs where it is part of the choreography and works incredibly well with the sensitive lighting effects. Prottey-Jones and Allen-Martin’s songs are fantastic and memorable – highly emotional but not soppily sentimental. There are no big show stopping numbers, and the songs don’t actually move the plot along, but they externalise the characters’ inner voices and feelings – most effectively through teenage Michael. That’s what MUTED is all about – NOBODY in the show can voice their true thoughts, and there are a lot of silences, interruptions and inane babbling from the damaged characters as they interact – all beautifully written by Sarah Henley. This is probably the quietest musical you’ll ever see. The characters only become eloquent through music, accompanied by repeated stylised “armography” that is strangely beautiful, especially in the low key but eminently satisfying closing number.

Tori Allen-Martin knows the part of lost girl Lauren inside out, and gives a stunningly natural and emotive performance. Helen Hobson is phenomenal as Michael’s mother, keeping her sympathetic even when she’s raging at her son. Jos Slovick’s Jake just needs a slap – his convincing performance makes you want to slap Lauren for staying with him! Edd Campbell Bird and David Leopold, as Teenage Michael and Michael, have a wonderful relationship on stage – the expressions and glances they share are the heart of the show – gorgeous. Mark Hawkins as Uncle Will makes his character much more than comic relief – his solo and final scene with Michael get right to the soul of the character. The whole cast have wonderful voices, and create a little piece of magic when they sing together.

MUTED is already a thing of wonder, but I don’t think the writers are done with it yet. I’m not sure if they’ll ever stop trying to make their baby perfect. As it is – this is a fantastic new musical that deserves a bigger audience.

Get down to the bunker and watch the best of British.