Home

York Theatre Royal – 8 April 2017.  Reviewed by Marcus Richardson

Tosca is an Italian opera written by Puccini and first performed in 1900.  The tragedy focuses on an artist Cavaradossi (Alexander James Edwards) and his lover, a performer, Tosca (Laura Mitchell).  Set in the late 18th century the opera has a beautiful charm and an aesthetic appeal. In the first act we are in a church with a statue of the Madonna with candles lighting her face up.  Part of a double-bill that is touring across the UK by an appropriately  named company ‘English Touring Opera’ their other show Patience was being performed the night before.

The Company came to York  for the Friday and Saturday.

Now I must admit I preferred Tosca much more than Patience. With it being sung in Italian and its plot it had a much more dramatic flare.  I found myself getting involved into the story as it has a strong conflict that could break up a love.  As far as the singing went it was much stronger between the main actors who boasted their powerful voices and brought the romance and story to life.

Whilst the performance had English subtitles you could understand what was happening without since the physical aspects of their acting played such a major role in the performance. What the subtitles did do however was create the lighter moments in the script possible for an English audience, with Tosca wanting to change the eyes on a painting.  The material was very good at making these comic moments in the tragedy to make their relationship much more believable and true.  Mitchell who plays Tosca had the most stunning voice and every time she hit a powerful note it gave me goosebumps. And at the end – let’s just say that I cried.

Go and see this opera, I cannot stress how good this show is and how it will make you feel.  It is the prime of what a good piece of theatre, let alone an opera, should be. The orchestra and cast are one of the best I’ve seen when it comes to coherence and fluidity as they worked together to create this amazing piece of art which I can label as perfection.  Go and see this Opera!



York Theatre Royal – 7 April 2017.  Reviewed by Marcus Richardson

Patience is an English Opera by the renowned and historical figureheads Gilbert and Sullivan, the performance can be described as an aesthetic opera. English Touring Opera is taking this show as part of a double bill with Tosca. It came to York over the weekend and had one performance at the York Theatre Royal.

The Opera was set in 1881 and follows the poet Reginald Bunthorne (Bradley Davis) and a milkmaid Patience (Luci Briginshaw), while he can have any woman we want as he is deeply loved by all around him he chooses to love the simple milkmaid, who claims she can never love someone as she had never done before. The story is very easy to watch and had a lot of lighter moments so you don’t have to get to involved; so you can sit back and appreciate the gayness, as they like to say.

As far as the acting, and equally singing goes, I loved pretty much all of it, all the singing was such a pleasure to watch, you could get lost is some of their voices as they were so mesmerising.  One of the best aspects was the ensemble of maidens and dragoons who gave the performance a great comical aspect and their vocals as a group fill the whole theatre and gave a powerful moment one stage.  I loved the dragoons wackiness with each other as they were a bit foolish and a far as the maidens go let’s just say lovesick could never be so funny to watch.

The stage had a simple touch to it but as it was an extravagant performance it was graced with these arches with statues behind them that brought this beauty to the performance. Another thing that I loved about the visual aspect was the costumes as they were amazing to look at especially on the poets and maidens.

Now you can never go to the opera without talking about the orchestra, which I have to say it, they were superb and blew me away.  Conducted by Timothy Burke, who ensured that the cast and orchestra stayed in time and worked together. I loved the music and everyone performed amazingly.  As far as lyrics go as well they were one of the strongest points of the Opera and the prime point of this is when the Lady Jane (Valerie Reid) sung about her figure and age.

If you have never been to the opera, go and see this show as it’s easy to get into with its English language and light story, if you’re a seasoned operatic viewer go and see this show as it something you will enjoy. It had such a simple and pleasant story that you will leave feeling bliss and entertained. If you’re afraid that you may feel going to the opera is a chore, it’s not, it is an experience that I am glad to say “I’ll go and see it again and again”

Neil Laidlaw and Jason Haigh-Ellery present

The Steamie

Written and directed by Tony Roper

Songs by David Anderson

 

• EXTRA PERFORMANCES NOW ON SALE FOR THE STEAMIE 30th ANNIVERSARY TOUR THIS AUTUMN
• TUESDAY 24 OCTOBER: RED CARPET GALA PERFORMANCE TO CELEBRATE ANNIVERSARY AT GLASGOW’S KING’S THEATRE

 

GALA ALSO TO RAISE FUNDS FOR ROYAL CONSERVATOIRE OF SCOTLAND IN 170TH YEAR TO RECOGNISE KEY ROLE IN SCOTTISH DRAMA

 

Neil Laidlaw and Jason Haigh Ellery are proud to announce additional performances of The Steamie when it returns to the Scottish stage in celebration of its 30th anniversary in 2017.

Opening in Kirkcaldy on Wednesday 6th September, 2017, the show will tour to His Majesty’s Theatre, Aberdeen, Dundee Rep, Ayr Gaiety, Eden Court Inverness, the Macrobert Arts Centre Stirling, King’s Theatre Glasgow and the King’s Theatre Edinburgh.

Due to demand extra performances have now been added in Dundee, Ayr, Stirling and Glasgow.

The Steamie is a Scottish theatrical classic; an ode to the hard working women of the 1950s and to a bygone Glasgow. The young Doreen envisions a new future, while Mrs Culfeathers looks back to the past – the play is a snapshot of a society, of a time and a cross section of strong women, all rolled into Roper’s hilarious comedy. As The Scotsman said in 2012, it is a“wonderful pattern of humour, pathos and laugh-out-loud comic set-pieces.”

On Tuesday 24 October at the King’s Theatre in Glasgow, a special red carpet gala performance will bring together the stars of Scottish theatre and screen in a celebration of this seminal Scottish play.

The producers are delighted to announce that they will partner with the Royal Conservatoire of Scotland for this special gala performance. A number of tickets will be sold through the RCS to raise funds for the institution in its 170th anniversary year. The Royal Conservatoire has consistently played a key part in creating a rich and successful theatre scene in Scotland over the last two centuries, and the producers are excited to join forces with them for the event to mark this incredible milestone.

Professor Jeffrey Sharkey, Principal of the Royal Conservatoire of Scotland, said: “For 30 years, The Steamie has enchanted audiences with its homage to Glasgow of years gone by.

“From Tony Roper to Neil Laidlaw, our alumni are involved in all facets of the production, highlighting the versatility and creativity of the students who pursue studies in the performing and production arts at the Royal Conservatoire.

“The Steamie remains a treasured part of Scotland’s theatrical heritage and with so many graduates involved, it’s only right for the Royal Conservatoire to celebrate this historic milestone in the same year our institution marks its 170th anniversary.”

The Royal Conservatoire is ranked number one in Scotland for graduate employability. Established in 1847, the institution is celebrating its 170th anniversary in 2017 and has built on its roots as a national academy of music to become one of Europe’s most multi-disciplinary performing arts higher education centres, offering specialised training across music, drama, dance, production and film.

The writer Tony Roper and producer Neil Laidlaw are both alumni of the Royal Conservatoire of Scotland.

Tony Roper is a Scottish actor, comedian, writer, playwright and director who first wrote The Steamie in 1987 and directed the 25th anniversary production in 2012. As an actor his first major role was in Scotch and Rye and he is most recognisable as Jamesie Cotter from Rab C Nesbitt. Tony’s other plays include Paddies Market, a conceptual sequel to The Steamie, andRikki and Me, a play about the comedy actor Rikki Fulton. He has written two novels based on Rikki Fulton’s character Rev I.M Jolly. His autobiography I’ll No Tell You Again was published in 2014.

Tony says: “In my late forties I sat down with a biro and a jotter and wrote my first ever play. Thirty years have since passed and The Steamie is still there, giving laughter and tears and touching that intangible something in an audience that has made it a favourite night out.”

This is the third time Neil Laidlaw has produced a tour of The Steamie, first in 2009 and then the 25th anniversary tour in 2012. Originally from Burntisland, Neil is now based in London’s West End. Recent successes include co-producing the Olivier Award nominated revival of Show Boat and the Olivier Award winning Gypsy starring Imelda Staunton; co-producing the Young Vic’s production of A Doll’s House starring Hattie Morahan, at the Duke of York’s in the West End and BAM in New York; and the UK tour of Annie which will transfer to the West End later this year staring Miranda Hart.

Neil said: “The Steamie is one of the greatest Scottish plays – I am extremely proud to have had the opportunity to have been associated with it in the past and am now even more excited to be producing this 30th anniversary celebration. I first saw it in a student production at the Royal Conservatoire of Scotland while studying there. Dawn Steele played Mrs Culfeathersfabulously!”

 

TOUR DATES – 2017

Week commencing

• 4 September Adam Smith Theatre, Kirkcaldy www.onfife.com/venues/adam-smith-theatre
• 11 September Her Majesty’s Theatre, Aberdeen www.aberdeenperformingarts.com/venues/his-majestys-theatre
• 18 September Dundee Rep Theatre www.dundeerep.co.uk/
• 25 September Ayr Gaiety http://ayrgaiety.co.uk/
• 2 October Eden Court, Inverness www.eden-court.co.uk/
• 9 October Macrobert Arts Centre, Stirling http://macrobertartscentre.org/
• 23 & 30 October King’s Theatre, Glasgow www.atgtickets.com/venues/kings-theatre/
• 6 November Kings Theatre, Edinburgh www.edtheatres.com/kings

www.lesenfantsterribles.co.uk / @LesEnfantsTerr / #TerribleInfants

• LES ENFANTS TERRIBLES TO STAGE A TEN YEAR ANNIVERSARY PRODUCTION OF THE TERRIBLE INFANTS
• THE TERRIBLE INFANTS WILL PLAY AT WILTON’S MUSIC HALL FROM 27 SEPTEMBER UNTIL 28 OCTOBER
• THE PRODUCTION FEATURES NARRATION FROM DAME JUDI DENCH
• TICKETS ARE ON SALE FROM WWW.WILTONS.ORG.UK

Les Enfants Terribles have announced that the anniversary production of their multi-award winning show The Terrible Infants will be staged at Wilton’s Music Hall. Featuring new creative material and reflecting Les Enfants Terribles’ bold, innovative and irreverent style The Terrible Infants will run from 27 September until 28 October with a press night on Tuesday 3 October. Tickets are now on sale from www.wiltons.org.uk

The production is a collection of twisted short stories by Oliver Lansley and Sam Wyer, which recall both Roald Dahl and Tim Burton, performed with inventive puppetry and atmospheric live music. Featuring recorded narration from Dame Judi Dench, The Terrible Infants originally debuted in 2007 before multiple appearances at the Edinburgh Festival Fringe and nationwide tours. The production received numerous awards when it debuted a decade ago including Best Entertainment and Outstanding Theatre in the Fringe Report in 2008, as well as Outstanding Artistic Merit from Argus Angel Award.

Oliver Lansley (Artistic Director) and James Seager (Producer) of Les Enfants Terribles said:“The Terrible Infants is a project which is very close to our hearts so we’re thrilled to be able to bring it back into the limelight for its tenth birthday. It’s always been at the back of our minds to revisit the show (audiences still talk to us about it all these years later!) and we’re delighted that the bewitching Wilton’s Music Hall will be its London home.

Over the past decade we have explored so many other ways of creating theatre with Alice’s Adventure’s Underground, Dinner at the Twits and The Game’s Afoot, so we’ll be bringing all that innovation and invention to this tenth anniversary production to create a more magical world for The Terrible Infants. Our stalwart audiences will be pleased to hear that Tumb, the boy who eats his Mum, Thingummyboy, whose face is so forgettable even his Mum struggles to recall him, Little Linena, Manky Mingus and Little Tilly will all be returning to the stage… but they will be joined by another twisted tale which we will be adding to The Terrible Infants repertoire.

2017 has been an incredible year for us with the return of Alice’s Adventure’s Underground to the Vaults, the continued success of our sister company Les Petits Theatre Company which is currently touring David Walliams’ The First Hippo on the Moon across the UK, the launch of our new initiative The Stepladder Award and Les Enfants Terribles featuring in The Stage 100. We can’t think of a better way to round off this amazing year than to welcome audiences to the new world of The Terrible Infants.”

When you tell too many tall tales, those tales have a tendency to take over, growing bigger and uglier and stronger and scarier, layering lie upon lie, fib upon fib, white lies turn to grey and grey turn to black, while you’re lugging around this huge tale on your back.

It’s always behind you, but none of it is true, and soon you can’t control the tale, it is the tale that controls you…

The Terrible Infants is the second time which Les Enfants Terribles will work with Wilton’s Music Hall in 2017. Along with touring and audience engagement company house, Les Enfants Terribles and Wilton’s have also launched The Stepladder Award. The award is designed to support fringe theatre companies making original work as they look to establish themselves within the UK theatre industry. The emphasis of the award is on supporting a company to mount a first full professional tour of their winning Edinburgh Festival Fringe show and build their company profile and structure.

Submissions for the award opened on 8 March 2017. The judging panel, made up of Les Enfants Terribles, Wilton’s Music Hall and house, will then see shortlisted shows during the first week of the Edinburgh Festival Fringe 2017 and announce the winner at the end of that week. Further information can be found here: www.lesenfantsterribles.co.uk/awards

The winner will perform their production at Wilton’s Music Hall in Autumn 2017 and will be supported by Les Enfants Terribles and house in mounting a tour of their show. The winner will also receive mentoring from Les Enfants Terribles as they prepare funding applications and plan their tour and in addition a programme of industry mentoring.

LISTINGS

Les Enfants Terribles present
The Terrible Infants
27 September – 28 October
Press Night: Tuesday 3 October

Wilton’s Music Hall
Grace’s Alley, London, E1 8JB
Box Office: 0207 702 2789
www.wiltons.org.uk

Run time is approximately 1 hour 35 minutes with an interval

The Terrible Infants is suitable for all ages
Based on a series of short stories by: Oliver Lansley and Sam Wyer
Directed by: Oliver Lansley and James Seager
Devised by: Les Enfants Terribles

Music by: Tomas Gisby and Neil Townsend
Designed and made by: Sam Wyer
Costumes: Trish Wyer and Sally Higginson
Cart constructed by: Nick Wyer
Scenic painting by: Jill Doherty
Linena made by: Alex Batten

ALSO PLAYING

Les Enfants Terribles and ebp present
Alice’s Adventure’s Underground
15 April – 23 September

Les Petits Theatre Company and ebp present
Adventure’s in Wonderland
13 May – 3 September
For ages 5 – 10

Vaults, London
www.alice-underground.com
Box Office: 0844 248 1125

Wilton’s Music Hall announce exciting new additions to season

·         Hotly anticipated revival of National Youth Theatre’s Zigger Zagger, the original football hooliganism play

·         Critically acclaimed one woman show Man To Man telling the story of Ella; a woman forced to adopt the identity of her dead husband in order to survive in Nazi Germany

·         Les Enfants Terribles present their multiple-award winning show The Terrible Infants, a joyous jumble of live music, puppetry and performance

Wilton’s is delighted to announce today three exciting shows that will grace the stage of Europe’s oldest Grand Music Hall in the autumn. Committed to showcasing a diverse range of live music and theatre, the latest batch of brilliant productions truly fits in with the Wilton’s spirit, with theatrical feasts, stunning revivals and reimagining classics.

Fifty years after becoming the National Youth Theatre’s first new writing commission, Peter Terson’s much loved Zigger Zagger (6-9 September) returns in a special anniversary production marking half a century since its world premiere. Set in 1967, the UK’s first major dramatic work to look at the subject of football hooliganism is a story of anarchy, violence and greed, all brought to life by a cast of fifty of Britain’s brightest young talents. Directed by Juliet Knight (White Boy) this irreverent tale of a working class boy torn between making a life for himself and the desire to fit in explores the themes of tribalism, masculinity and belonging through the National Youth Theatre’s trademark wit and infectious energy. 

Following on from a stellar, critically-acclaimed set of shows at the 2015 Edinburgh Festival (★★★★★The Guardian), Manfred Karge’s Man to Man comes to Wilton’s for an exclusive  London run from 12 – 23 September. Maggie Bain astonishingly brings to life the story of Ella, a woman forced to adopt the identity of her dead husband in order to survive in Nazi Germany. Adapted by award-winning playwright, Alexandra Wood, this dynamic production unites the talents of a multi Olivier & Tony award-winning creative team, led by directors Bruce Guthrie and Scott Graham (Artistic Director of Frantic Assembly: The Curious Incident of the Dog in the Nighttime West End/Broadway). A Wales Millennium Centre production and named by the Times as a ‘stunning revival…destined for classic status’, this one-woman masterpiece is one not to be missed.

 

Fresh from their hit Olivier nominated production, Alice’s Adventure’s Underground, innovative theatre company Les Enfants Terribles arrive at Wiltons to present their multiple award-winning show, The Terrible Infants (27 September – 28 October). Based upon a series of twisted tales by Oliver Lansley and Samuel Wyer, this fantastic spectacle blends puppetry, live music, performance, and dark story telling into a highly sensory theatrical feast suitable for big kids and small grown-ups. Featuring narration recorded by the wonderful Dame Judi Dench, this is Roald Dahl meets Tim Burton in this hugely theatrical, scary, funny, sad, silly, junk-filled, puppetry packed, dark, delicious, musical, magical piece of performance!

Unmissable masterpiece The Toad Knew visits The Lowry for its only performance outside London

Wed 10 & Thu 11 May 2017

One of Europe’s most inventive artists James Thierrée visits The Lowry for the first time on Wed 10 & Thu 11 May 2017 with his latest production The Toad Knew. These performances will be the only chance for audiences to see his latest critically acclaimed work outside London.

James Thierrée, the multi-talented European performer and director with an impeccable theatrical pedigree, is renowned for conjuring worlds of endless invention and fantasy, and inviting imaginations to soar.

An acrobat, magician, actor, clown and musician Thierrée is acknowledged as one of the world’s greatest and most creative performers and directors. Perhaps this is inevitable coming from an impressive linage of artists that includes his great-grandfather Eugene O’Neill and his parents French circus creators Jean-Baptiste Thierrée and Victoria Chaplin – part of the Chaplin dynasty.

A unique theatrical experience, The Toad Knew, is a spellbinding creation. Critically acclaimed, it is a seamless mix of mechanical marvels, seductive music, surreal humour and acrobatic finesse.

The Toad Knew features six characters who emerge into a strange netherworld of steaming water, animalistic machines and sinister objects. A woman transforms into a lizard, a piano plays itself and plates miraculously appear and disappear. In the middle of it all, Thierrée works his magic with the aid of a servant, only to have it undone by a man beast. It all happens underneath a huge, glowing structure connected to the stage with a thick cord of knotted wires. The Toad Knew emanates from a dream world of buried fears and encapsulates Thierrée’s creative process.

Thierrée made his stage debut aged four in 1978, appearing alongside his older sister, Aurélia, in his parents’ company  Le Cirque Imaginaire.  Thierrée  toured with the circus throughout his childhood and teenage years. When his parents’ circus settled in Paris following long spells at Les Halles the company began to play theatres rather than circus tents, and so began Thierree’s interest in theatre performance.

In 1998 he formed Compagnie du Hanneton, named after his parents’ childhood nickname for him ‘le hanneton’; French for a particular type of iridescent beetle because he was always jumping around. This informal international ensemble includes both circus and dance artists and the productions include Junebug Symphony (2001), La Veillée des Abysses (2004), Au Revoir Parapluie (2007), Raoul (2009) and Tabac Rouge (2014).

Thierrée was recently awarded the César (France’s national film award) for Best Actor in a Supporting Role for French film Chocolat, about the famous clown Chocolat, who in 1886 became the first black circus artist in France. Thierrée plays Chocolat’s stage partner Footit. The film followed the pair as they become a famous duo in Paris Belle Epoque. For Chocolat, Thierrée was commissioned to recreate the numbers that Footit and Chocolat performed.

The Toad Knew has been nominated for three Molière Awards 2017: Best Show, Best Visual Creation and Best Director. The awards will take place on Mon 29 May 2017.

11 OLIVIER AWARD WINS FOR SONIA FRIEDMAN PRODUCTIONS

 

Sonia Friedman is tonight celebrating with her producing partner Colin Callender as Harry Potter and the Cursed Child scoops nine Olivier Awards:

 

Virgin Atlantic Best New Play
Harry Potter And The Cursed Child at Palace Theatre

 

Best Director
John Tiffany for Harry Potter And The Cursed Child at Palace Theatre

Best Actor
Jamie Parker for Harry Potter And The Cursed Child at Palace Theatre

Best Actress in a Supporting Role
Noma Dumezweni for Harry Potter And The Cursed Child at Palace Theatre

Best Actor in a Supporting Role
Anthony Boyle for Harry Potter And The Cursed Child at Palace Theatre

White Light Award for Best Lighting Design
Neil Austin for Harry Potter And The Cursed Child at Palace Theatre

Best Sound Design
Gareth Fry for Harry Potter And The Cursed Child at Palace Theatre

Best Costume Design
Katrina Lindsay for Harry Potter And The Cursed Child at Palace Theatre

Blue-i Theatre Technology Award for Best Set Design
Christine Jones for Harry Potter And The Cursed Child at Palace Theatre

 

And two further Oliviers for the Sonia Friedman Productions show Dreamgirls go to:

Best Actress in a Musical
Amber Riley for Dreamgirls at Savoy Theatre

Best Actor in a Supporting Role in a Musical
Adam J Bernard for Dreamgirls at Savoy Theatre

 

As Sonia Friedman Productions prepares to transfer Our Ladies of Perpetual Succour to the West End, they would also like to congratulate all those involved in the production at National Theatre – Dorfman, including originating producers the National Theatre of Scotland and Live Theatre, for winning the Oliver Award for Best New Comedy.

 

The Olivier Awards 2017 were held at The Royal Albert Hall in London on Sunday 9 April and the ITV1 highlights broadcast will air on Tuesday 11 April at 8pm.

Grand Opera House York – 7 April 2017.  Reviewed by Michelle Richardson

York Stage Musicals presents Rock of Ages at the Grand Opera House, York, running until Saturday 15th April.

Set in the late 1980’s, Rock of Ages tells the story of Sherrie, Lauren Sheriston, a small town girl hoping to make it big in acting. Sherrie meets would be rocker, Drew, Conor Mellor, who works in the trademark Hollywood bar, “The Bourbon Room”. Dennis, Mikhail Lim, the owner offers her a job and we then see Sherrie and Drew fall in love to the soft rock songs of the 80’s with ups and downs along the way.

We are taken through the story through a narrator, Lonny, played wonderfully by Christopher Knight. He is the first character you see on stage, with his American accent and cheeky charm and is the glue that holds it all together. Knight was really outstanding as Lonny and I loved the huge, and I mean huge hair.

Club owner Dennis has his own battle to fight with ruthless German developer Hertz, Adam Tomlinson and his camp, he’s “German not gay” son Franz, Benedict Tomlinson. These 2, especially the latter, had certain members of the audience in fits of laughter that it became quite infectious. Benedict was great as Franz flouncing around the stage and living up to his role.

The ensemble cast provide a lot of energetic dancing and singing, mostly in very little clothing. Some of the female cast were that scantily dressed that a couple of times I honestly thought that there was going to be a wardrobe malfunction, which I’m sure would have pleased some of the audience.

One of the highlights of the show for me was the duet with Dennis and Lonny, I suppose another love story? Both Knight and Lim have great voices, I loved Lim’s singing throughout the whole show.

Mellor played a very convincing wannabe rock star and you could just imagine him in front of his bedroom mirror at home playing air guitar and singing along to all the songs he got to sing on stage. Sheriston was good as the naive small town girl Sherrie, but I found it a bit of a stretch to think of her turning into a stripper. The true star of the show for me though was Knight as Lonny.

York Stage Musicals, under the direction of Nik Briggs, have put on another great show. It is unbelievable to think that this is a show staged by amateurs as it felt truly professional. Well done and congratulations!

Please catch it if you can and go along to see local actors, playing in York until Saturday 15th April.

York Theatre Royal – 5 August 2017.  Reviewed by Marcus Richardson

Rosie Kay Dance Company came to the York Theatre Royal with their newest dance show MK Ultra, now if you’re a person who loves their conspiracy theories that that might sound familiar.  MK Ultra is a brainwashing theory that we are being controlled through the use of tv and hidden messages.  As soon as the show started I was drawn into this deep world and it felt like I was watching a documentary for the first few minutes as we watched this video projected on this giant triangle which told us about MK Ultra, this draws you in so much as you start to focus on the meaning of the dance, and when the dancers some on stage you see the meaning behind moves and their interaction.

The dancing was very provocative and really plays on the use of sex symbols in media to brainwash people, there was a lot of movement centred around the lower half and a first you think ‘oooh a bit naughty’, but then you look past it and you realise that it sends a lot of messages about how media and our society is now with the trend twerking.

Throughout all of the show we were reminded about the sexualisation of people and how everyone is controlled.  The best moment for this was in the second act then the company pick up a dancer and made her body move and controlled every aspect of her presence on stage. As the dancing was very ‘new age’ so was the music as it included electronic sounds and broken music rather than your classical ballet style music, this was really good in working with different sections of dance and helping draw the audience into this world of conspiracy.

The stage was completely bare except a throne in the corner and this gigantic white triangle at the back, this immediately tells the audience that is about power and the ever so famed “illuminati”.  The triangle was massive and really became a focus when it needed to be, this is that part that I love, during the dancing and when the opening of the show projections were shown on this triangle and it fitted a lot of the dances well, the projections focus on the psychedelic aspect of the brainwashing, it almost became another character as it fits in so well about telling this story.  The costumes were very revealing and didn’t leave much to the imagination with everyone wearing bodysuits with various symbols affiliated with the New World Order

This show is something I would go and see again as it’s my cup of tea, but I find that it may only appeal to a smaller audience rather than more commercial theatre and dance, it is obviously not PG and I wouldn’t recommend that you take kids under the age of 14 as dancing got very sexualised and there was swearing during the show.  This has to be one of the best dance shows I’ve seen and I loved the whole aspect of fake news and the New World Order.



Richmond Castle, North Yorkshire.  7-9 April 2017

Situations Presents Verity Standen Refrain – a beautiful piece of immersive choral artistry held within the grounds of Richmond Castle.

The harmonies resonated around the grounds whilst the public were encouraged to explore the castle.  Watching the sunset and listening to the bird song and the sound of the river below the male voices sang a lament to commemorate the ‘Richmond 16’

Just over 100 years ago, the sixteen conscientious objectors were detained in a cell block at Richmond Castle. Before they were sent to France to be court-martialled, the 16 covered the cell walls with words, hymns and drawings.

21 local men, all untrained singers, blended their voices stunningly – amongst them a doctor, scrap metal merchant, a Methodist minister, students, asylum seekers, people who have experienced homelessness, and a Green Party candidate who hasn’t sung for 50 years. Aging from teen to pensioner the men started off in small groups scattered around the castle, vocalising different lyrics in their groups.  The men then came into a large group and individually sang a different piece but together.  But what might have sounded like a cacophony of noise was a more sweet-sounding anthem

The acoustics of the castle reverberated through the vast open spaces and in the confines of the chapel and the Keep.  The men’s plaintive voices crying out Standen’s vocal composition.

This ensemble piece was magnificent in its simpleness, their voices as one, it is a performance that should not be missed

This almost angelic chorus is showing in Richmond – Saturday 8th April 6pm and 7.30pm.  Sunday 9th April 6.00am (dawn) and 10.15am.  With tickets priced at :£12 (Concessions: £8 Group family ticket: £25) Tickets to the 6.00am (dawn) performance are free

It then moves to St. Helens, Merseyside 19th – 21st May and Newhaven, West Sussex 9th – 11th June.  Further details can be found at www.refrain.online

Singers: Harrison Braithwaite, Adrian Cook, Tom Cooper, Alan Coustick, Jamie Edgar, Pete Edge, Jonathan Gibbs, Charlie Grumbley, Patrick Ititini, Paddy O’Neil, Alec Paul, David Pisaro, Luca Riccer, Peter Roberts, Leslie Rowe, Jamie Sample, William Thayre, Chris Wellings, John Westwood, Hamid Reza Yazdanfar.

Ensemble: Edward Wren, Harry Humberstone, Robert Thumpston, Robin Paley Yorke

Composed and directed by Verity Standen