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

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

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

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

Act 1

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

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

Act 2

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

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

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

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

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

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

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

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

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

York Theatre Royal – until 6 May 2017.  Reviewed by Marcus Richardson

‘The Tenant of Wildfell Hall’ is early feminism in a romantic novel turned play. Originally written by Anne Bronte, one of the three Bronte sisters, the book has been adapted to stage by Deborah McAndrew.   As it came to the York Theatre Royal there was a lot of excitement for this adaptation of the much loved novel. Set in gods own county Yorkshire, we follow Gilbert Markham a farmer who falls in love with a mysterious and strange woman, who has taken residence in the run down Wildfell Hall.   A woman with a past ,that leaves her on her own without a man, leaves the whole village questioning her ability to raise her son.

Michael Peavoy who played the rugged Gilbert Markham, had a very interesting character as he had to capture the manliness of the nature, but also the romantic man when meeting Helen Graham (Phoebe Pryce).   I found that he portrayed the character rather well, as he gave it a perfect balance between the two.   Needless to say that the whole cast was absolutely stunning with each of their performances and portrayals, from the talented Susan Twist who multi-roled as two characters which I only found that out after reading the programme, to Arthur Huntington who took on a person from Helen’s past.

But the actor who stood out the most was Pryce, the tenant herself, the character with her complex past and even more complex present can be very difficult to get a hold of as she is both reserved and out-there with her attitudes.  Her best feature is her interaction with other characters and how she slowly falls in love with Gilbert.

But I have to talk about the dog, when the dog came on stage, yes it was a real dog, the whole audience had the best reaction with the typical awwws.

The set was rather simple with a low wall that makes up the foundation of a house so we can get a sense of the time period and the setting, that doesn’t mean that it was a poor set, in fact I love the use of an actual fire on stage to help show the setting of the Markham house. In the second act we are introduced to a new location, somewhere grand and elaborate, to show this a gigantic chandelier  came down and gave an obvious change in class and in place, with the simplicity of the set the scene changes were quick and effective.

The show will be at the Theatre Royal until May 6th, if you are classical literature fan then I would recommend this amazing adaptation of the timeless classic, even if you’ve never read the book before it proves a good insight into what society was like at the time and an interesting look on historical feminism.

DERREN BROWN SET TO MESMERISE AUDIENCES WITH

LATEST STAGE PHENOMENON

Derren Brown, the multi award-winning master of psychological illusion is making a triumphant return to Newcastle Theatre Royal with his latest stage presentation Underground (Mon 7 – Wed 9 Aug ’17).

The nation’s favourite dark manipulator of magic and mind control transfixed full house audiences during a week long run ofMiracle in 2016.  Direct from its recent sold-out London run, Derren Brown: Underground features a collection of some of the very best of his previous stage work brought together into a spell-binding experience of showmanship and magical genius.

Derren comments: “It’s not a brand new show, rather an opportunity to see me perform some of my own choice of favourite bits from the past fourteen years of touring.  Hopefully, it will be just as rewarding an experience for those who have seen me before as it will be for first-timers.”

Derren has toured every year since 2003 and been watched by an estimated audience of nearly two million people. He has won prestigious Olivier Awards, for Something Wicked This Way Comes (2006) and Svengali (2012). His last show,Miracle, his most daring to date, was universally acclaimed by critics and the world-wide audience alike.

Derren Brown: Underground is a Michael Vine, Andrew O’Connor, Derren Brown and Paul Sandler presentation for Vaudeville Productions Ltd. Directed by Andrew O’Connor & Andy Nyman, Written by Andy Nyman, Andrew O’Connor & Derren Brown, setting by Will Bowen, lighting design by Charlie Morgan Jones, general manager is John Dalston.

Derren Brown: Underground appears at Newcastle Theatre Royal from Mon 7 – Wed 9 Aug ’17. Tickets go on sale to the general public on Tues 2 May at 9 am with Friends of the Theatre Royal able to purchase from Fri 28 Apr at 11am and Advantage members from Sat 29 Apr at 9am.  Prices from £29.00. Tickets are available from the Theatre Royal Box Office on 08448 11 21 21 (calls cost 7ppm plus your phone company’s access charge) or book online at www.theatreroyal.co.uk.

LES ENFANTS TERRIBLES AND RADA LAUNCH CROWDFUNDING CAMPAIGN FOR THE LET BURSARY

A VIDEO INTRODUCTION TO THE AWARD FROM KATHERINE KELLY HERE AND OLIVER LANSLEY HERE

Today, Les Enfants Terribles and the Royal Academy of Dramatic Art (RADA) have launched a crowdfunding campaign for the first ever LET Bursary. RADA graduate Katherine Kelly(Coronation Street, Happy Valley, City of Angels) is the official patron of the award.

Created to help one individual without the financial means to attend drama school, the winning recipient will receive the bursary towards their tuition fees and living costs for the full-time professional acting course for one academic year.

For further information and to donate please visit:www.justgiving.com/crowdfunding/LETbursary

Katherine Kelly, patron of LET Bursary said: “Without RADA I simply wouldn’t be where I am today. The training which they provided me with gave me to tools to tackle any role in any script in any production anywhere in the world. There is no way that I would have had the exciting, varied and fulfilling career I’ve had so far but I know that I have been incredibly lucky.

When young actors ask me how they can break into the industry, I always recommend drama school. However so many talented young people, understandably and heartbreakingly, dismiss this as a possibility because drama school seems totally unaffordable.

Talent is not, and should never be, related to how much money you have. The LET Bursary, which I am thrilled to be a patron of, aims to remove some of those financial barriers which may discourage young actors from reaching their full potential.

RADA’s alumni include some the best actors of film, stage and screen and with your donation, you will be allowing a young actor to have the best possible start to their career.”

Oliver Lansley, Artistic Director of Les Enfants Terribles, said: With the gulf between richer and poorer growing ever wider in our society and the cost of drama schools having risen to over £9000 a year it is becoming increasingly hard for young people of less affluent backgrounds to be able to pursue their dreams of working in the arts.

I set up Les Enfants Terribles when I was 19 years old. My parents were not in involved in the arts, my father was a builder and my mother worked for the NHS, and there was no way they could have afforded £30,000 for me to train as an actor. 15 years later I see now how difficult it would have been for someone like me to get a foothold in this industry. I’ve been incredibly lucky. That’s why I feel it is essential for people in my position to help redress the balance and help support the next generation of artists.”

Edward Kemp, Director of RADA, said: “At a time when the higher education funding model puts financial pressure on many students, it’s vital that there is support available to enable talented young performers to pursue their careers through high quality training. I’m delighted that we’re adding to our scholarship provision by partnering with Les Enfants Terribles to offer the new LET Bursary. Founded by actors, RADA has always enjoyed exceptionally close ties with the profession and it’s particularly gratifying that a theatre company should want to support our students in this way.

Having a diverse company of actors training at RADA only enriches our learning experiences and creative output, and we hope that the new bursary will open up a pathway into the industry for a talented performer who might otherwise not have the opportunity.”

Craft Theatre presents:

NATIONAL THEATRE TO TOUR IBSEN’S MASTERPIECE

HEDDA GABLER

A NEW VERSION BY PATRICK MARBER

DIRECTED BY IVO VAN HOVE

UK Tour October 2017 – March 2018

Following a sold-out run at the National Theatre’s Lyttelton Theatre, the NT will tour its acclaimed production of Hedda Gabler throughout the UK.

Beginning at Theatre Royal Plymouth on 2 October 2017 the tour will journey across the UK to Edinburgh, Leicester, Salford, Norwich, Hull, Aberdeen, Northampton, Glasgow, Wolverhampton, Woking, Nottingham, Newcastle-upon-Tyne, York and Milton Keynes, where the tour finishes on 3 March 2018.

Just married. Bored already. Hedda longs to be free…

This vital new version of Ibsen’s masterpiece by Olivier and Tony Award®-winning playwright Patrick Marber (Closer, Three Days in the Country) is directed by Ivo van Hove, one of the world’s most exciting directors.  Olivier and Tony Award®-winning van Hove made his NT debut with Hedda Gabler.  His acclaimed production of A View from the Bridge recently played to sold out houses at the Young Vic, in the West End and on Broadway.  Van Hove’s next production for the NT will be the world premiere of Network based on the Oscar-winning film.  It will feature a UK stage debut for Bryan Cranston.

Set and lighting design for Hedda Gabler is by Jan Versweyveld, with costume design by An D’Huys and sound by Tom Gibbons.  The Associate Director is Jeff James.

Patrick Marber said:  ‘It has been a huge honour to work with the great Ivo van Hove on this version of Hedda Gabler at the National Theatre. I am thrilled that this tour will enable more people to see his incredible production.’

Casting will be announced soon.

Theatre Royal Plymouth                        2 – 7 Oct 2017                                    

Edinburgh Festival Theatre                    17 – 21 Oct 2017                        

Leicester Curve                                            23 – 28 Oct 2017                                              

The Lowry Salford                                 30 Oct – 4 Nov 2017                   

Norwich Theatre Royal                           7 – 11 Nov 2017                                               

Hull New Theatre                                    13 – 18 Nov 2017                                           

His Majesty’s Theatre Aberdeen             21 – 25 Nov 2017      

Northampton Royal & Derngate             28 Nov – 2 Dec 2017                                       .

Glasgow Theatre Royal                             15- 20 Jan 2018

Grand Theatre, Wolverhampton            23 – 27 Jan 2018                                               

New Victoria, Woking                           29 Jan – 3 Feb 2018

Nottingham Theatre Royal                     5 – 10 Feb 2018         

Newcastle Theatre Royal                       12 – 17 Feb 2018   

Grand Opera House, York                         20 – 24 Feb 2018                              

Milton Keynes Theatre                          27 Feb – 3 Mar 2018       

Please check with individual theatres for box office information and on-sale dates

NOW IN ITS RECORD BREAKING 33^rd YEAR

CAMERON MACKINTOSH

ANNOUNCES MAJOR CAST CHANGES FOR

THE WEST END PRODUCTION OF

“LES MISÉRABLES”

AT THE QUEEN’S THEATRE

FROM MONDAY 12 JUNE 2017

KILLIAN DONNELLY WILL STAR AS ‘JEAN VALJEAN’

CARLEY STENSON AS ‘FANTINE’

AND

HAYDEN TEE RETURNS AS ‘JAVERT’

From Monday 12 June 2017, there will be major cast changes at the West End production of “LES MISÉRABLES” at the Queen’s Theatre, which is now in its record breaking 33^rd year.

Cameron Mackintosh is delighted to announce that Killian Donnelly will star as ‘Jean Valjean’. He joins “Les Misérables” fresh from Broadway where he is currently playing the lead role of ‘Charlie Price’ in “Kinky Boots”. West End leading lady and former Hollyoaks star Carley Stenson, will join the company as ‘Fantine’ andHayden Tee returns to play ‘Javert’ from 17 July having performed the role at The Queen’s Theatre until 22 April this year. 

Also joining the company are Steven Meo as ‘Thénardier’; Karis Jack as ‘Eponine’, Jacqueline Tate as ‘Madame Thénardier’ and Hyoie O’Grady as ‘Enjolras’. Paul Wilkins will continue in the role of ‘Marius’ andCharlotte Kennedy will continue in the role of ‘Cosette’ having both originally joined the company in 2015.

From 17 July 2017 the full company will be: Emma Barr; Adam Bayjou; Oliver Brenin; Ciarán Bowling; Hugo Chiarella; Andy Conaghan; Killian Donnelly; Alice Ellen Wright; Sophie-May Feek; Hyoie O’Grady; Catherine Hannay; Antony Hansen; Holly-Anne Hull; James Hume; Karis Jack; Ciaran Joyce; Charlotte Kennedy; Katie Kerr; Rebecca Lafferty; Jo Loxton; John Lumsden; Anna McGarahan; Steven Meo; Jonny Purchase; Lauren Soley; Carley Stenson; Jacqueline Tate; Shaq Taylor; George Tebbutt; Hayden Tee; Lee Van Geleen; Danny Whitehead and Paul Wilkins.

Killian Donnelly is currently playing the role of ‘Charlie Price’ in “Kinky Boots” on Broadway, a role he originated at the Adelphi Theatre in the West End in 2015, for which he was nominated for an Olivier Award. His other theatre credits include: ‘Jackie Day’ in “Donegal”, a new play by Frank McGuinness, at the Abbey Theatre, Dublin and ‘Huey’ in the original London cast of “Memphis” at the Shaftesbury Theatre for which he was also nominated for an Olivier Award.  He created the role of ‘Deco’ in “The Commitments” at the Palace Theatre and has also played ‘Tony’ in “Billy Elliot” at the Victoria Palace Theatre as well as’ Raoul’ in “The Phantom of the Opera” at Her Majesty’s Theatre. He first joined the company of “Les Misérables” in 2008, going onto play the role of ‘Enjolras’ from 2009 to 2011. In 2010, he played the role of ‘Courfeyrac’ in the “25th Anniversary Concert of Les Misérables” at The O2 Arena and also played the role of ‘Combeferre’ in the multi-award-winning film of the show, released in 2012.

Carley Stenson’s West End credits include ‘Elle Woods’ in “Legally Blonde”, ‘Princess Fiona’ in “Shrek The Musical” and ‘Lady of the Lake’ in “Spamalot”. Carley also starred as ‘Christine Colgate’ in the tour of “Dirty Rotten Scoundrels”. She is probably best known for playing the regular role of ‘Steph Cunningham’ in Channel 4’s Hollyoaks, for which she was nominated for several awards during her 10 years with the show.

Hayden Tee returns to the West End production of Les Misérables having played the role of ‘Javert’ in the West End from 9 January 2017 to 22 April 2017.  He has previously played the role on Broadway and in Dubai. He has also previously played the role of ‘Marius’. His other theatre credits include: “South Pacific”; “Little Women”; “Titanic”; “Cats” and “Into the Woods”.

Steven Meo’s previous theatre credits include “Pride & Prejudice” at The Regents Park Open Air Theatre and on UK tour; “The Taming of the Shrew”, “Boeing Boeing”, “Portrait of the Artist as a Young Dog” all for Theatre Clwyd; “The Distance” for Sheffield Crucible/Orange Tree Theatre and “Flesh and Blood” for Hampstead Theatre and on tour.

Karis Jack’s theatre credits include “The Bubbly Black Girl Sheds Her Chameleon Skin” at the Theatre Royal, Stratford East & Belgrade Theatre, Coventry; “Baddies: The Musical” at the Unicorn Theatre’ “Hairspray” at Curve, Leicester and on UK tour; “Little Shop of Horrors” at the Salisbury Playhouse and Mercury Theatre, Colchester; and “Urinetown: The Musical” at the Apollo Theatre and St James Theatre.

Jacqueline Tate’s previous theatre credits include: “Allegro” at the Southwark Playhouse; “Avenue Q” at the Wyndham’s Theatre, Gielgud Theatre and national tour; “South Pacific” at The Barbican Theatre and UK tour; “The Phantom of The Opera” at Her Majesty’s Theatre and “My Fair Lady” and “Evita” on international tour.

Hyoie O’Grady is making his professional and West End debut in “Les Misérables”.

Paul Wilkins has previously played the role of ‘Marius’ in “Les Misérables” in Manila, Singapore and Dubai. He made his West End debut in “Les Misérables” in 2015.

Charlotte Kennedy made her West End debut in “Les Misérables” in 2015.  She has also appeared in “Elaine Paige in Concert” at the Royal Albert Hall.

Tickets for “LES MISÉRABLES” are priced £12.50 – £72.50

Currently booking till 14 October 2017

Box Office: 0844 482 5160

Performances: Monday – Saturday at 7.30pm

Matinees – Wednesdays and Saturdays at 2.30pm

www.lesmis.com

York Theatre Royal – 26 April 2017.  Reviewed by Michelle Richardson

Fresh from its sold-out run at the Edinburgh Fringe. Ten years, two friends and one fortune teller.

Written, devised and performed by Roxy Dunn and Alys Metcalf, we meet two friends, Libby and Sam, recent graduates, attending a festival where they have their fortunes read. One is told she will be successful in love, life and basically everything, whilst the other will not succeed and die a dramatic death before the age of 30.

We follow them through the years via the simple, yet very effective, prop of a flip chart, denoting the leap forward, or later in the show, the jump back in time. We see their lives unfold and take different paths, exactly how the fortune teller predicted. Would it have been any different if the fortunes had been the other way round and could they turn back time? And yes, we were treated to the Cher song of the same name, before they do turn back time.

In between the passing of the years Dunn and Metcalf frequently step out of character and explain their friendship and creative processes. I suppose you could say a story within a story. This was a new one on me and I must admit that I found it a bit strange a first, it added to the show and laughs.

Dunn has written a short, but decent script for both her and Metcalf and they work well together. They have great chemistry and delivered a good comedic performance. Metcalf showed great physicality in her performance which worked well with Dunn’s somewhat understated, in comparison, performance.

We were a small audience and it was very intimate, which added to the performance and I certainly felt engaged and involved. The staging was very simple with a flipchart, two cool boxes and a couple of cardis, but very effective.

It was 60 minutes of truly unexpected fun and what if?

BOTTOMLESS PROSECCO MAY AT PIER EIGHT

Throughout May 2017 Pier Eight Restaurant at The Lowry will be doing a bottomless prosecco offer.

Celebrate May at The Lowry’s Pier Eight restaurant with their bottomless prosecco offer. Throughout the month diners at Pier Eight on Thursdays to Saturdays after 8pm will enjoy bottomless prosecco with a three course meal.

Pier Eight’s seasonal menu includes a delicious honey roasted plums and goats’ cheese mousse served on a crisp flatbread to start; an 8oz ribeye steak with mustard rarebit, air dried tomatoes, fat chips and red wine jus for mains and can finish with a sumptuous chocolate crémeux served with hazelnut joconde and coffee whipped cream.

The bottomless prosecco offer is exclusively on Thu, Fri & Sat from 8pm onwards with last tables seated at 9.30pm. And is available when diners get three courses.

More information on Pier Eight Restaurant & the bottomless prosecco offer can be found on their website