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Flying Entertainment and AES in association with The King’s Head

 present the London premiere of

Adam & Eve… and Steve

King’s Head Theatre, London N1

21 March to 29 April 2017

 

“God made Adam and Eve, not Adam and Steve” (1977, unknown)

 

Adam & Eve… and Steve is a brand new five star musical farce set in a newly created paradise, the Garden of Eden. The basis of every love story, every romantic ballad, and every sentimental poem ever written is man meets woman, they disagree, they resolve their differences, they fall in love.   But…..

Adam & Eve… and Steve  is the story of the first couple up to a point…everything in the Garden is going according to God’s plan until the pesky Beelzebub adds the hunky Steve into the mix.  Fun, mischief and mayhem ensues as Adam & Eve compete for Steve’s affections and God tries to impose some order on the chaotic love tangle that ensues.

 

Adam & Eve…and Steve won Best New Musical at the Hollywood Fringe 2015 and comes to London after a highly acclaimed run at the Edinburgh Fringe 2016

Dale Adams (Steve) trained at the Arts Ed, London. His stage appearances include Prince Charming in Cinderella and Frankie Valli in Oh What a Night! He has also appeared at Glyndebourne and was in the ensemble for the Olivier Awards.

Michael Christopher (God) played Sir Thomas Moore in Robert Bolt’s A Man For All Seasons and Monk Tetzel in John Osborne’s Luther.

Hayley Hampson (Eve) trained at Liverpool Institute for Performing Arts and her credits include: Blue Girl in Shout! The Mod Musical; Faryl in Golden Oldies; Daisy in Pharaoh Cross the Mersey; and Sophie in Departure Lounge.

Stephen McGlynn (Beelzebub) has appeared in the West End in Mary Poppins, Mamma Mia (original cast), Les Miserables, Witches of Eastwick, and State Fair. He has also appeared in Romeo and Juliet, It’s A Wonderful Life, Hairspray, Macbeth, Beauty and the Beast and Evita.

Joseph Robinson (Adam) trained at The Guildford School of Acting and this is his professional debut.

Adam and Eve… and Steve is directed and choreographed by Francesca Goodridge. Francesca Trained at the Liverpool Institute of Performing Arts. She has worked as an actor, singer and director. Her directing credits include Shout! The Mod Musical at LIPA, Edinburgh Festival and Liverpool’s Royal Court Theatre.

The book and lyrics are by Chandler Warren, a noted US entertainment lawyer, producer and writer. Warren has written extensively for television and theatre, as well as penning numerous books and articles. He has also produced movies, for television and theatre productions, both on and off Broadway.

The original music is composed by Wayne Moore, whose previous original works include; There’s No Place Like Hollywood (Stella Adler Theatre), Freeway Dreams (The Gardenia), I Know I Came In Here For Something and The Real Desperate Housewives (Taconic Playhouse, New York).

Musical direction is by Dean Austin, whose extensive credits include Allegro at Southwark Playhouse, Zorroat the Garrick, as well as TV appearances on Jonathan Ross, Royal Variety Show and Paul O’Grady.  Set and Costume designer is Roberta McKeown, whose credits include Shout! The Mod Musical.   Roberta was Wardrobe Assistant for the UK tour of Priscilla, Queen of the Desert, and the UK tour of Jeeves and Wooster and for Disney’s The Lion King.

Lighting is by Richard Williamson, production manager for C Venues at the Edinburgh Festival; his many credits include Easter Rising at the Jermyn, Richard lll at Stratford, and Play Size at Young Vic.   Sound Design is by Django Holder who graduated from The Liverpool Institute for Performing Arts in 2016 with a BA (Hons) in Sound Technology.  This is his professional debut.

The King’s Head Theatre is London’s first and foremost pub theatre and is led by Artistic Director, Adam Spreadbury-Maher. New writing, revivals, musicals, opera, cabaret and queer work sit side by side in an unashamedly eclectic programme of work. Thanks to an in-house agreement with Equity, we’re leading the way when it comes to ethical employment on the fringe whilst our resident trainee director’s scheme continues to provide comprehensive, vocational training to the rising stars of tomorrow. With high profile co-productions, national touring and transfers to and from the biggest arts festivals in the world, we’re certainly not slowing down!

 

Listings Information:

Venue: King’s Head Theatre, 115 Upper Street, London, N1 1QN

Dates: Tuesday 21^st March – Saturday 29^th April 2017

Press Night: Tuesday 28^th March 2017

Times: Tuesday – Friday @  8.40pm: Saturday @  3pm &  8.40pm: Sunday @ 5pm

Tickets: £10 – £35

Box office number:  020 7226 8561

 

Facebook: Facebook.com/AdamEveSteve

Twitter: @Adam_Eve_Steve

 

Theatre503 23 November – 7 January.  Reviewed by Claire Roderick

Sleeping Trees patented brand of festive lunacy is back with another brilliantly bonkers mashup of panto favourites. Just as Santa is loading his sleigh, disaster strikes – the Wicked Witch steals all the Christmas Spirit, leaving Santa’s mum (much scarier) to save the day. She realises that a tiny bit of Christmas Spirit is hidden deep, deep, deep, deeeeeeeep down inside Ebenezer Scrooge, so hatches a plan to force him to rediscover his humanity and save the day.

Sleeping Trees – Joshua George Smith, John Woodburn and James Dunnell-Smith – have written a fast-paced and whip smart show that embraces every panto cliché, with the added drama of tensions in the company over potential casting for a Hollywood movie. Composer Ben Hales, accompanies the madness on a range of instruments with an endearing air of bewilderment and a range of ridiculous hats. The knowing humour whisks us through a cast of Fairy-tale characters including the seven dwarves (played by 2 actors – just wait for the handshake scene!), Snow White, the Wizard of Oz; and in Old Victorian London Town (which MUST be said in your best Christopher Guest accent) Bob Cratchett and his tiny son, and a maudlin Mary Poppins “I’m Supercalafragile…”.

Sleeping Trees are all fine physical comedians with amazing onstage chemistry, and seem to be having as much fun as the audience. There is a joyful and refreshingly filth free innocence to the whole show – it’s as if Miranda Hart and David Mitchell had triplets.

Forget those huge productions – a cast of 3 is all you need. Get down to Theatre503 and this perfectly formed panto will banish the winter blues and get the party season started. I dug out my Christmas jumper as soon as I got home. A true Christmas cracker.

Theatre N16 27 November – 1 December.  Reviewed by Claire Roderick

Wow. Just wow.

Annie McKenzie has created a wonderfully honest and heart wrenching piece of theatre about coping with grief.

On a clifftop at Beachyhead, Fiona (McKenzie) struggles to come to terms with the sudden death of her mother, armed with a biscuit tin and a flask of tea. The stages of grief are all present in this seemingly rambling monologue, expertly written to slowly reveal the true character of both Fiona’s mother, and their relationship. The initial guilt that she didn’t realise her mother had cancer, and the anger at her older sister about leaving the news via voicemail is portrayed with affecting rawness by McKenzie – all tears, snot and spit. The pain and confusion on her face are palpable. Fiona’s frustration about her mother always wanting to protect her keeps surfacing, with lots of physical hints to explain why. McKenzie’s sensitively judged gestures, pauses and movements, and repeated pleas for things lining up and being put in order subtly highlight the character’s spectrum disorder and her family’s treatment of her without laying things on too thickly.

Perhaps inspired by The Curious Incident, loud storm noise and dim light accompany Fiona’s darkest moments, and as she calms herself the light brightens and noises abate. This sort of thing usually annoys me, but it fitted perfectly with the feel of this play. Interspersed with Fiona’s emotional struggle is the tale of the skeleton woman – where Fiona’s language becomes melodic and more of a traditional storyteller. Fiona’s musings on mortality and loss are spat out, while her childhood memories trip off her tongue with warmth and innocence – the switch between these moods is handled brilliantly, showing Fiona’s inner turmoil with clarity and empathy.

McKenzie inhabits her character fearlessly, giving a moving, natural and engaging performance. I had to stop myself getting up to give the poor girl a hug.

As Fiona keeps remembering the insignificant, ridiculous details she remembers about her mother, the titles she gives her – “My Mother – The Widow” and “My Mother – The Secret Drinker” – become gentler and more loving, culminating in the story from which the play takes its name. The final, silent gesture that Fiona makes in honour of her mother is both heart-breaking and life affirming. Annie McKenzie is definitely a writer to keep an eye on. She has tapped into a deep well of emotion and produced a piece that makes you laugh, cry, and reminds you not to take your parents for granted. And she’s right, a nice cup of tea is all you need.

Waterloo East Theatre 29 November – 18 December.  Reviewed by Claire Roderick

Jest End returns to Waterloo east Theatre with a new cast and some new numbers, but with the same scathing humour and insanity.

The business of show is a fickle thing, so gone are all traces of Miss Saigon, Killian Donnelly and Bend It Like Beckham. Garry Lake fills these spots with spot on mickey takes of School Of Rock, Motown, Half A Sixpence and the closing of Jersey Boys. Lin-Manuel Miranda doesn’t escape, with hysterical numbers about Hamilton and In The Heights hitting all the right notes – with some very dodgy hip hop moves thrown in. The problem of TV and C list stars on stage still looms large in the show, along with the diversity of West End casting, and some of the shorter numbers are the hardest hitting, with a million reasons to hate Calendar Girls and Sarah Harding reading her reviews making me feel a bit like a school bully for laughing.

Some familiar numbers remain in the show, still feeling fresh and making me laugh like a loon. The Les Mis finale is simply fantastic – with the Jackman – Crowe animosity played brilliantly.

The cast all have amazing voices and are game for anything – just see their Lion King outfits in the opening number! Jemma Alexander manages to be rib achingly funny and tug at your heart strings with her portrayal of a desperate auditioning actress, and her aging Eponine and part time Christine are a hoot. Adam Bailey makes a worryingly convincing Miss Trunchbull and John Barrowman, while his Javert is deeply disturbing. Bronte Barbe’s Ariel and Billy Elliot are brilliant, and Daniel Buckley’s Hugh Jackman and rapping Cameron Mackintosh will make you spit out your drink.

Jest End is perfect entertainment for fans and haters of musicals alike. Fantastically funny and full of bite, this show is just what you need on a miserable Winter night. GO AND SEE IT!!!

The Full Monty opened last night to the delight of hundreds of screaming women in the Leeds Grand Theatre audience.

Based on the 1997 hit film, some stage adaptations of a silver screen classic can miss the target set by the original – but hats off to The Full Monty, it did just that.  Retaining the film’s soundtrack that includes songs by Donna Summer, Hot Chocolate and Tom Jones, to provide a version of a story the audience already knows so well.

More a play with music, dancing and, of course, stripping it was poignant at times, touches on some serious issues and absolutely hilarious most of the time

Set in the late 1980s, it tells the story of a group of skilled men laid off from a Sheffield steel mill who aim to raise some much needed cash by mounting a one-off strip show, and is delivered with dry humour and an infectiously upbeat finish.

Two of the men, Gaz (Gary Lucy) and Dave (Kai Owen), are best friends.  Gaz hasn’t quite grown up yet and fails at responsibility, even though he has a 12-year-old son, Nathan (shariing the part are James Burton, Monty Poole, Reiss Ward and Felix Yates), and an ex-wife, Mandy (Charlotte Powell), demanding he pay his child support or risk joint custody.

Dave’s self-image because of his weight and lack of a job is so bad it’s hurting his relationship with his loving wife, Jean (Fiona Skinner).

But the six are not the Chippendales, more oily rags than oiled muscles and how they try and overcome their embarrassment and lack of co-ordination and their,em, deficiencies makes for some very funny moments During their first rehearsal, the six guys can’t dance in sync. While one is pivoting, another is doing something totally different. It’s not until Horse brings up the football that they finally begin to get their moves together. There’s terrific work from Louis Emerick’s Horse – who has a bad hip, Anthony Lewis’s Lomper – who is saved from suicide, Andrew Dunn’s Gerald – who hasn’t told his wife he’s been unemployed for 6 months and Chris Fountain’s Guy, each with their own back stories (or in Guy’s case, an imposing front story in his well-stocked briefs) that have brought them here.

I must also mention Pauline Fleming, playing multiple characters, but her role of Bee who whips down her knickers, baring her backside to all as she pee’s against the Club wall sets the tone for the entire play

Robert Jones’s set astonishingly amalgamates a derelict steel mill, a street, a dole office and a working men’s club. Jack Ryder’s self-effacing direction perfectly tempers laughter and sentiment. His cast is superb: a powerful ensemble of strong characterisations, all finely calibrated around the central father-son relationship so convincingly realised by Gaz and Nathan

Do the guys raise the cash? Do they learn to accept their bodies? Do they repair their relationships with their wives and child? And, do they take it all off?

You’ll have to see the show for the answers to those questions, but it’s definitely a show worth seeing in order to find out the answers to those questions. “The Full Monty” had the audience laughing hard, no matter their age or gender. It has adult content like language and sexual suggestions, but it’s a show you want to attend to let it all go and have a great night. I couldn’t laugh any harder than I did Monday night.

Bridewell Theatre 23 November – 3 December.  Reviewed by Claire Roderick

Sedos’ reputation as an amateur company with professional production standards is well deserved. Here, they tackle Candide – John Caird’s National Theatre version – with confidence and conviction, creating a show that, although overlong, never loses its sparkle. And let’s face it, any musical with a song about the clap is always worth a look.

Leonard Bernstein’s music is as gorgeous as ever, and Richard Wilbur and Stephen Sondheim’s lyrics gleefully enhance Voltaire’s biting wit. The plot would take longer to explain than the show’s running time, but takes hapless hero Candide on an episodic odyssey through Europe to the New World and back again through war, accidental murders, miraculous survivals and reunions while his lost love, Cunegonde survives on her wits and her feminine charms. The tone is whimsical, brushing over battlefield carnage, religious persecution and murder with a knowing “look at the idiocy of the human race” wink at the audience as Candide tries to reconcile his teacher’s optimistic “best of all possible worlds” philosophy with what he experiences in the world.

The tale is narrated by a sardonic Voltaire (Stephen Russell in full honey voiced mode), who prowls around the stage acting as ringmaster as his creations perform. Russell also plays the optimist philosopher Pangloss, whipping on a pair of daft glasses and morphing into an innocent man-child version of Ade Edmundson. Mark Siddall is sweet as Candide, all wide eyed blinking charm; while Emma Morgan is magnificent as the mercenary Cunegonde – her version of Glitter and Be Gay hit all the (very high) right notes, and was as full of emotional character as any professional performance. Francesca Canty also impresses as the Old Woman. Stepping in at short notice due to illness, Canty revels in her cod Eastern European accent and oozes charisma as she tells terrible tales of her past and guides Cunegonde towards wealth and pleasure.

The company are enthusiastic (some a little too much so) and committed, with fantastic vocals accompanied by the wonderful orchestra – with musical director Matt Gould creating music that would be at home in the West End. Under Michael Smith’s assured direction, the show is crisp and clean, with the choreography being homely rather than thrilling, and the design, keeping to the simplicity of the NT production is effective, feeling just right in the Bridewell Theatre space. Early in the run, the lighting cues needed refining, and the comic silhouette effects didn’t work, but I am sure these hiccups will be ironed out as the run continues.

Sedos’ Candide is stylish and accomplished, full of energy and charm with some outstanding performances. A fantastic way to warm your heart on a cold Winter’s night.

Mayflower, Southampton – 22 to 26 November 2016.  Reviewed by Sharon MacDonald-Armitage

It could be viewed that the stars were in perfect alignment that December night in 1956 when Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis gathered at Sun Records, Sam Phillips recording studio in Memphis. Often described as the man that created the term Rock ‘n’ Roll there is no doubt Phillips created a moment that will go down in musical history and Million Dollar Quartet is about this moment.

Drawing on hits from the four stars of the day this show interweaves the history of that night plus the background as to how Phillips discovered such talent. With easily recognisable Rock ‘n’ Roll hits such as Blue Suede Shoes, Folsome Prison Blues, Great Balls of Fire, See You Later Alligator, Long Tall Sally, I Walk the Line and so much more, it is easy to see the genius of Phillips in discovering, nurturing and promoting such talents.

Matthew Wycliffe (Perkins) gives a sterling performance as both actor and musician, playing the guitar with consummate ease; he is a natural in the role. Equally, Martin Kaye (Lewis) who has played this role for a number of years in the US is impressive and exciting and although this ‘newcomer’ to the group is exuberant and manic he is a clear favourite with the audience and steals many of the best lines in the show. There is a slightly brooding undertone to Robbie Durham (Cash) who is the quiet one of the four and has the tone and mannerisms of Cash off to a tee. Ross William Wild (Elvis) is clearly the most famous of the four and there is a bristling between him and Perkins over Blue Suede Shoes that is palpable, perhaps justified and perhaps a turning point in both their careers. Amongst this collection of musical talent and be aware these performers are playing their instruments live on stage, is Katie Ray as Dyanne, Presley’s girlfriend at the time. With a superb rendition of Fever, Ray makes herself seen and heard amongst a group of extremely strong males.

Donovan (Sam Phillips) is the link that holds the other characters together and although there are moments when his character is somewhat lost amongst the main four, it is clear Phillips was a force to be reckoned with in the music industry and Donovan reflects this.

Million Dollar Quartet is a guaranteed fabulous night out and clearly evident judging by the audience reaction.

 

LOST Theatre Company presents:

‘WOR STORIES’

NEWCASTLE’S ARMED FORCES COMMUNITY SHARE THEIR EXPERIENCES OF LIFE IN THE MILITARY IN A NEW THEATRE PRODUCTION

AT NEWCASTLE THEATRE ROYAL WED 7 DEC – SAT 10 DEC 2016

 

Rehearsals are underway for a new production being put on by 30 members of Newcastle’s Armed Forces community.  ‘Wor Stories’ will be performed at Newcastle Theatre Royal from Wed 7- Sat 10 December 2016.

 

The production will be a culmination of a 13 week theatre project run by the Bravo 22 Company, The Royal British Legion’s recovery through the arts programme, and is being delivered in partnership with the Newcastle Theatre Royal and The Drive Project.

 

Written by Gary Kitching and directed by Chris Connel, ‘Wor Stories’ is based on the real life experiences of the 30 men and women taking part in the project, who have all served in the Armed Forces themselves or had family members who have served.  The production will be performed by 11 people, with the other participants taking on roles in script writing, production, technical and set design.

 

“I’m a big believer that the arts are important in any walk of life,” explains Chris Connel. “They expand people’s horizons, helping them to look out from within themselves – because when people are isolated, they tend to look inwards.”

 

Gary Kitching, who has 20 years’ acting experience, including projects with young offenders said: “All of the participants have been incredibly honest with us throughout the whole process.  In order to write the script we’ve asked people to show their vulnerable side, and put their trust in us to tell their stories, which is a huge responsibility.

“I genuinely look forward to coming into rehearsals every day, and am so proud of what the group has already achieved.  The transformation of people from the first day of the project has been amazing.”

 

Wor Stories, follows the Bravo 22 company’s hugely successful theatre and art projects that have run over the past five years. Its debut, The Two Worlds of Charlie F, received standing ovations throughout its West End run in 2012 and went on to tour the UK and Canada. This was followed by regional theatre projects in Buckinghamshire and Plymouth, with the company also running its first art programme in Brighton earlier this year.

 

Phil Web, 58, was a gunner in The Army, and narrates the play. After leaving the Army, Phil struggled with alcoholism, homelessness and unemployment.  Talking about the project, Phil says: “I love it! It’s something to get up for in the morning. I get myself down here on the bus, which takes an hour and a half, but it’s well worth it. I just love it. After the very first session, I left as though I’d achieved something.”

 

Linda Shaw and her husband Dave are also involved in the production, with Dave helping behind the scenes and Linda taking on an acting role.  Dave has suffered with PTSD for over 10 years. Linda says “I like that we talk about our experiences and aren’t being judged. I’m the only partner of a Service man here. A lot of people don’t understand PTSD and I thought it would be good to have my input of what it’s like living with someone with the condition.”

 

Tickets for Wor Stories are available now from Newcastle Theatre Royal www.theatreroyal.co.uk or box office 08448 11 21 21*

*Calls cost 7ppm plus your phone company’s access charge

For more information on Bravo 22 Company visit www.britishlegion.org.uk/bravo22

NB

‘Wor’ is Newcastle dialect for ‘our’, so the play translates to ‘Our Stories’

 

SELLADOOR PRODUCTIONS

AND

RUNAWAY ENTERTAINMENT PRESENT

THE RETURN OF

 

FLASHDANCE – THE MUSICAL

 

WITH THE ORIGINAL AWARD WINNING

MUSIC FROM THE SMASH HIT FILM

 

ON A UK TOUR FROM 31 JULY 2017

  

 

FLASHDANCE – THE MUSICAL returns to the UK for the first time since 2011, and will arrive at Glasgow King’s Theatre on 31 July 2017 to start a UK tour, finishing in Milton Keynes on 21 July 2018. For full details of tour venues and dates, visit www.flashdanceuktour.co.uk

 

Prepare to be blown away with an astonishing musical spectacle and phenomenal choreography to this iconic score, including the smash hits “Maniac”, “Manhunt”, “Gloria”, “I Love Rock & Roll” and the award winning title track “Flashdance – What a Feeling”. Produced by the award winning team at Selladoor Productions – producers of Footloose, Avenue Q and Little Shop of Horrors – and Runaway Entertainmant – producers of In The Heights, Guys and Dolls and Lazarus, FLASHDANCE – THE MUSICAL is not to be missed!

 

Take your passion and make it happen!

 

FLASHDANCE – THE MUSICAL tells the inspiring and unforgettable story of 18 year old Alex, a welder by day and ‘flashdancer’ by night, who dreams of going to the prestigious Shipley Dance Academy and becoming a professional dancer.  When a romance complicates her ambitions, she harnesses it to drive her dream.

 

Based on the Paramount Pictures film (Screenplay by Tom Hedley and Joe Eszterhas, story by Tom Hedley) Flashdance is an inspiring musical about the power of holding onto your dreams and love against all odds. Flashdance proved a hit with audiences, and remained in the Top 10 Box Office in the States for 15 weeks after release. The original score also proved hugely popular, with the soundtrack album selling 700,000 copies within two weeks of release. The platinum selling hit title track “Flashdance – What A Feeling” won both an Academy Award and a Golden Globe in 1983, with the soundtrack winning the Grammy Award for Best Album of Original Score Written for a Motion Picture or a Television Special in 1984.

FLASHDANCE – THE MUSICAL is produced by Selladoor Productions and Runaway Entertainment.

 LISTINGS

 

FLASHDANCE – THE MUSICAL

ON UK TOUR FROM 31 JULY 2017

 

Performances:                    

King’s Theatre, Glasgow 04 AUGUST – 12 AUGUST 2017

Empire Theatre, Sunderland 11 SEPTEMBER – 16 SEPTEMBER 2017

New Theatre, Oxford 18 SEPTEMBER – 23 SEPTEMBER 2017

Regent Theatre, Stoke 25 SEPTEMBER – 30 SEPTEMBER 2017

New Theatre, Wimbledon 02 OCTOBER – 07 OCTOBER 2017

Empire Theatre, Liverpool 16 OCTOBER – 21 OCTOBER 2017

Assembly Hall Theatre, Tunbridge Wells 13 NOVEMBER – 18 NOVEMBER 2017

Aylesbury Waterside Theatre, Aylesbury, 20 – 25 NOVEMBER 2017

Grand Opera House, York 27 NOVEMBER – 02 DECEMBER 2017

Alexandra Theatre, Birmingham 04 DECEMBER – 09 DECEMBER 2017

Playhouse Theatre, Edinburgh 15 JANUARY – 20 JANUARY 2018

Palace Theatre, Manchester 29 JANUARY – 03 FEBRUARY 2018

Victoria Theatre, Woking 19 FEBRUARY – 19 FEBRUARY 2018

Princess Theatre, Torquay 26 FEBRUARY – 03 MARCH 2018

DeMontfort Theatre, Leicester 26 MARCH – 31 MARCH 2018

Theatre Royal, Brighton 09 APRIL – 14 APRIL 2018

Hippodrome, Bristol 25 JUNE – 30 JUNE 2018

Milton Keynes, Theatre 16 JULY – 21 JULY 2018

 

Website:                         www.flashdancetour.co.uk

Twitter:                           @FlashdanceUK