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FANNY

WORLD PREMIERE PRODUCTION OF NEW COMEDY ABOUT FANNY MENDELSSOHN BY CALUM FINLAY OPENING AT THE WATERMILL THEATRE

23 MAY – 15 JUNE

“A NOBLE CALL”

PRODUCTION ISSUING AN INVITATION TO WOMEN MUSICIANS TO PLAY A PIECE OF MUSIC AT THE END OF THE SHOW

BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044

The company of the world premiere production of FANNY – a new comedy by Calum Finlay centring on the life of Fanny Mendelssohn – have today issued an invitation to women musicians to take part in the Irish tradition of the Noble Call, which is derived from the tradition of calling on guests at a party to share a song, a poem or to respond to the mood of the day.

During the run of the show at The Watermill from Thursday 23 May to Saturday 15 June, musicians of all levels, backgrounds and styles are asked to sign-up to play a piece of music at the end of the show each night to continue the work of all the incredible women musicians before them. For more information, and for the form to sign-up, visit the Watermill website or click  here.)

Director Katie-Ann McDonough explains, “FANNY is about women artists and musicians. We have a stage, so let’s give it to them! I’m very excited to see all the different women musicians who will join us at the Watermill and share their talents with us and the audiences that come to see Fanny. This noble call is a tribute to the incredible legacy of women in music and a celebration of the vibrant, ongoing contributions of women artists today.”

Produced by RJG Productions and The Watermill Theatre anddirected by Katie-Ann McDonough, this fun and irreverent new comedy celebrates classical music and – at last – recognises the work of a composer overlooked for her sex.

…who?

You’ll probably know her younger brother, Felix Mendelssohn, from 19th century smash hits like The Wedding March. He was the Cliff Richard of his day and was even asked to play at a personal concert for Queen Victoria. But only if he played her favourite piece of music ever, a song called Italien. However, we now know that Felix was forced to admit to the Queen that, in actuality, the piece had been composed by his sister, Fanny, and simply published under his name.

FANNY imagines that Fanny intercepts a letter addressed to ‘F. Mendelssohn’ inviting Felix to play for Queen Victoria. As the true composer of Italien, she decides to hide the letter, don her brother’s clothes, and take his place at the palace…cueing a race across Europe and a furious Felix.

Joining Charlie Russell (The Goes Wrong Show – BBC, The Play That Goes Wrong – West End & Broadway) as ‘Fanny’, Corey Montague-Sholay (Bacon – Finborough Theatre, Edinburgh Fringe, Riverside Studios, Bristol Old Vic & Soho Playhouse, New York, Wendy & Peter Pan – Leeds Playhouse) as ‘Felix’, Harry Kershaw (The Play That Goes Wrong – West End, Peter Pan Goes Wrong – West End & Broadway) as ‘Paul’, Kim Ismay (Elf The Musical – West End, Wicked – West End, UK & International Tour) as ‘Lea’, George Howard (Sherwood – BBC, Witness for the Prosecution – London County Hall) as ‘Willhelm’ and Jade May Lin (professional debut) as ‘Clara’. 

Joining McDonough on the creative team are Yshani Perinpanayagam (Emilia – West End, Wolf Witch Giant Fairy – Linbury Theatre, Royal Opera House) as Composer & Musical Director, HJB Casting as Casting Director, Sophia Pardon (The Wizard of Oz – Watermill Theatre, How To Succeed In Business Without Really Trying – Southwark Playhouse) as Set & Costume Designer, David Howe (The Mind Mangler – West End, Off-Broadway & UK Tour, A Comedy About A Bank Robbery – West End & UK Tour)as Lighting Designer, Thomas André Wasley (Touching The Void – Hong Kong Arts Festival & West End, Wolf Witch Giant Fairy – Linbury Theatre, Royal Opera House) as Sound Designer, Hannah Gilbert asCostume Supervisor, Olivia Wolfenden as Company Stage Manager on Book and Sophy Johnston as Assistant Stage Manager.

Director Katie-Ann McDonough said, “FANNY is a story that needs to be told and I’m excited to bring it to life with this incredible cast and creative team. Fanny Mendelssohn’s story has been waiting in the background for far too long and I can’t wait for audiences to experience it with us.”

Producer Rebecca Gwyther said, “We could not have hoped for a more symphonic team to bring FANNY to life at the Watermill Theatre. After years of development, we’re ready for audiences to experience Fanny’s story in this imaginative comedy that’s certain to strike a chord.”

Joint CEOs of The Watermill, Artistic Director Paul Hart, Executive Director Claire Murray, said, “We’re delighted to be collaborating with Rebecca and the team to stage the world premiere of FANNY at the Watermill Theatre.  We think audiences will love this hilarious new play inspired by the remarkable truth of who actually composed Felix Mendelssohn’s greatest hits!”

The Mix,Theatr Clwyd, Yr Wyddgrug/Mold – until May 25th 2024 (English) then 7th/8th June 2024 (Welsh)

Review by Julie Noller

5*****

The major refurbishment is still underway at Theatr Clwyd but fear not theatre is still running as slick as ever. The welcome is warm, surely I won’t be the only one to miss the sight of the Theatr Clwyd car or the little dome on the hill that is The Mix.

The Mix is the perfect setting for Nick Paynes Constellations; it’s compact layout brings you closer to the actors, you are not just observers but feel almost like family living amongst the story as it unfolds. For just over 75 minutes you live in a what if universe, we’ve all had those dreams where you wonder what would happen, what if, all those scenarios playing out in our imagination. Well Nick Payne took that idea and ran with it; the possibilities are endless but this isn’t a superhero saves the world moment but simply a girl meets boy moment. It’s a romance with subtle hints of comedy; taking two people and looking at how they interact and respond to each other through many differing personality traits. Language is often overlooked, how we use it both for and against us. Words can be both comforting and hurtful depending on how used and Constellations showcases this perfectly. Superbly Directed by Daniel Lloyd using Nick Paynes screenplay.

You enter The Mix into a somewhat smokey aura, the flickering light set are the work of Set Designer Hayley Grindle and Lighting Designer Jonathan Chan; Lights and electric bring to mind energy and here we have differing shades of white light from bright to dull, slightly blue at times and then greens to add to the mix, its ghostly at times.

Giving the appearance of time in motion, a circular movement of time playing out. Gwellian Higginson and Aled Pugh as Marianne and Roland are brilliant, they have a bond that is totally believeable. First meeting at a BBQ we fast forward the many first meetings including an interaction in Welsh all may or may not occur but all totally feasible, do opposites attract? Does humour and personality make a relationship work? We see anger and it’s response whilst flipping the coin we see vulnerability and strength.

Marianne is a strong willed, career minded Physicist – sharing her believe in quantum mechanics; nothing is spontaneous, everything is predetermined by the universe, quite like those lights flashing in sequence. Roland is softer more emotional, a beekeeper – sharing his love of honey and the richness of a simple life. The skill on show throughout the entire performance is immense and should be applauded, how both Gwellian and Aled move effortlessly through the dialog but by simply changing stance, facial expressions or the force of language and its context, keeps us the audience on our toes well it changes the energy completely.

There are moments you feel lost, it’s almost like you joined a conversation mid point and you could guess but you’re not quite sure; don’t worry once you reach the end it’s rather like arriving at your destination and you suddenly realise those missing bits are supposed to be missing and it’s all part of the time warp – remember it’s the What If’s that make this play special, you will feel emotion, you will feel as if your breath is silent as if your soul is being pulled onto the stage as the energy intensifies. Layer upon layer of story builds and slots together none of it right but none of it wrong either. You leave without a true conclusion in a conventional sense but you do have the right to leave with your desired ending.

*7th and 8th of June watch Constellations in Welsh. Cytserau.

PAAPA ESSIEDU, THOMAS COOMBES,

ERIN DOHERTY AND SHARON DUNCAN-BREWSTER

STAR IN THE THEATRICAL EVENT OF THE YEAR

DIRECTED BY CLINT DYER

CLINT DYER AND ROY WILLIAMS’

DEATH OF ENGLAND

ALL THREE PLAYS PERFORMED IN REP

@SOHOPLACE FROM 15 JULY – 28 SEPTEMBER 2024

Bill Kenwright Ltd, in association with Nica Burns,presents the National Theatre’s productions of the  Death of England plays. Following their acclaimed world premieres at the National Theatre,  between 2020 – 2023, Clint Dyer and Roy Williams’ three state of the nation plays, Death of England: Michael, Death of England: Delroy and Death of England: Closing Time will be performed together in the West End for the very first time as a unique theatrical event for a strictly limited season @sohoplace theatre.

Starring Paapa Essiedu (I May Destroy You, The Lazarus Project), Thomas Coombes (Baby Reindeer, Luther: The Fallen Sky), Erin Doherty (The Crown, Chloe) and Sharon Duncan-Brewster (Dune, Sex Education) and directed by Clint Dyer.

These three interconnected plays can be watched as a stand-alone experience or seen together. Across the three plays, connections and themes come together as Michael, Delroy, Denise and Carly navigate the joys and challenges of what it means to be British in 2024.

·        Performances for Death of England: Michael start from 15 July, Death of England: Delroy starts from 23 July and Death of England: Closing Time from 22 August when all three plays will then be performed in rep until 28 September.

·        Thomas Coombes (Baby Reindeer, Luther: The Fallen Sky) stars in Death of England: Michael, Paapa Essiedu (I May Destroy You, The Lazarus Project) stars in Death of England: Delroy and Erin Doherty (The Crown, Chloe) and Sharon Duncan-Brewster (Dune, Sex Education) star as Carly and Denise in Death of England: Closing Time.

·        The Death of England plays are directed by Clint Dyer, Deputy Artistic Director of the National Theatre.

·        Death of England: Michael (previously titled Death of England) and Death of England: Delroy originally played at the National Theatre in 2020, with Death of England: Closing Time playing in 2023.

·         The Death of England plays are the final production in an exciting second year of programming @sohoplace following trailblazing productions of The Little Big Things and Red Pitch.

·        Tickets are on sale at 12pm on Friday 17 May via @sohoplace

Clint Dyer said:

“’I’m honoured and excited to get this opportunity @sohoplace. The chance to deepen the symbolism of Death of England by placing the three updated plays together, whilst breathing new life into it with such an amazing cast, is nothing but thrilling for me and the team.”

Roy Williams said:

“I am made up beyond words that this is happening @sohoplace. It’s a wonderful opportunity for us to update the plays a little and to work with an almost entirely new cast. I have nothing but love and admiration for each actor embarking on this with us! At its heart, the Death of England plays are a state of the nation family saga and the Fletcher/Tomlin family still have much to say about England as it is now and the troubling times we are living in.”

Jenny Seagrove, Chairperson of Bill Kenwright Ltd said:

“We are thrilled to be once again partnering with long-standing friends and colleagues Clint Dyer and Nica Burns, to present an incredible cast in this exciting series of plays that hold a mirror up to society in 2024. Twenty years ago Bill transferred Clint Dyer’s production of The Big Life into the Apollo Theatre as the first British Black Musical to be presented in  the West End and Bill collaborated  with Nica on countless West End productions. I couldn’t think of two better partners to be working with on this wonderful project, as Bill Kenwright Ltd moves into a new chapter, building on the legacy of Bill’s incredible 50+ year career.”

Nica Burns said:

“Our intimate auditorium is a perfect setting for the audience and actors to connect with this fantastic, ambitious piece of theatre performed by a brilliantly talented company.  Plays for today in a theatre for today.”

DEATH OF ENGLAND: MICHAEL
15 July – 28 September

A family in mourning. A man in crisis.

After the death of his dad, Michael is powerless and angry. In a state of heartbreak, he confronts the difficult truths about his father’s legacy and the country that shaped him. At the funeral, unannounced and unprepared, Michael decides it is time to speak.

Thomas Coombes stars in this scorching and fearless play which asks explosive and enduring questions about identity, race and class in Britain.

DEATH OF ENGLAND: DELROY

23 July – 28 September

Unapologetically upwardly mobile and working as a bailiff, Delroy’s life spirals out of control on one surreal day as he races to get to the hospital where his girlfriend Carly is about to give birth.

Starring Paapa Essiedu, Death of England: Delroy is the searing story of a Black working class man searching for truth and confronting his relationship with Britain.

DEATH OF THE ENGLAND: CLOSING TIME
22 August – 28 September

There are two sides to every story.

Grieving the loss of the family shop with their dreams destroyed, Denise and daughter-in-law Carly are  left to pick up the pieces of their relatives’ mistakes.

Sharon Duncan-Brewster and Erin Doherty play Denise and Carly in this thought-provoking drama that explores family dynamics, race, colonialism and cancel culture.

CAST

Paapa Essiedu

Paapa Essiedu is an acclaimed British actor with a career spanning television, film, and theatre. The London born actor has garnered many award nominations including Emmy and BAFTA TV nominations for his breakout performance in Michaela Coel’s era defining show, I May Destroy You and The Lazarus Project.

Recent projects include the National Theatre production of The Effect, written by Lucy Prebble and directed by Jamie Lloyd, which transferred to The Shed, New York. Paapa also starred in season 6 of the cult anthology series, Black Mirror, Demon 79, Season 1 & 2 of Sky thriller, The Lazarus Project, and Working Title/Universal Christmas movie THE GENIE, directed by Sam Boyd and written by Richard Curtis. 

Next up Paapa will star opposite Saoirse Ronan in The Outrun, directed by Nora Fingscheidt and based on Amy Liptrot’s bestselling memoir. The film has screened at this year’s Sundance and Berlinale and will open the Edinburgh Film Festival.

Paapa is currently filming The Scurry, a comedy horror directed Craig Roberts and written by Tim Telling.

Further screen credits include The Capture (BBC1), Alex Garland’s Men (A24), Gangs Of London (HBO/Sky Atlantic), Anne Boleyn (Channel 5), Unsaid Stories (ITV), Press (Masterpiece/BBC One), Black Earth Rising (BBC Two), Kiri (Channel 4), The Miniaturist (BBC), short film Femme, which was nominated in the Best British Short category in the 2022 BAFTAs and won the BIFA Award for Best Short Film.

Further theatre credits include: A Number (Old Vic Theatre, directed by Lynsey Posner), Simon Godwin’s lauded production Hamlet at the RSC, The Merry Wives Of Windsor (RSC, directed by Philip Breen), King Lear (National Theatre, directed by Sam Mendes), Pass Over (Kiln Theatre, directed by Indhu Rubasingham).

Thomas Coombes

Theatre includes:  A Kind of People (Royal Court), Blue Orange (Birmingham Rep), King Lear (Royal Exchange), Misfits (Queens Theatre), The Merchant Of Venice (The Globe), Barbarians for which Thomas won the Best Male Performance at the 2013 Offies – Off West End Theatre Awards (Tooting Arts Club), The Father (Trafalgar Studios), Single Spies (The Rose Theatre Kingston), Plastic (Old Red Lion), Finding Alice (Lyric Hammersmith/Tricycle), Shooting Clouds (Union Theatre), The Winslow Boy (Palace Theatre Westcliff).

Television includes:  Baby Reindeer, The Acolyte (Star Wars), Miss Austen, Moonflower Murders, Slow Horses, Rain Dogs, Save Me, Save Me Too, Small Axe, Grace, EastEnders, Whitehouse Farm, London Kills, Endeavour, Hatton Garden, Knightfall, Prime Suspect 1973, Silent Witness, Cuffs, Jekyll and Hyde, The Scandalous Lady W, Wallander, Count Arthur Strong, Man Down, Atlantis, Suspects, The Honourable Woman, Him & Her: The Wedding, Life Of Crime, The Genius Of Turner.

Film includes: Luther: The Fallen Sun, Boiling Point, Living, Cottontail, Summerland.

Erin Doherty

Erin Doherty is one of the most talented and respected actors of her generation, playing leading roles across film, television and theatre. 

Erin is best known for her break out performance as Princess Anne in Netflix’s The Crown. Erin was a 2018 Screen International Star of Tomorrow and a 2018 Evening Standard Rising Star. In 2020, Erin was honoured at the Newport Beach Film Festival as a ‘Breakout Honouree’ following her role of Princess Anne.

Doherty most recently played the lead in upcoming Disney Plus series A Thousand Blows. In 2022 Erin appeared at the National Theatre leading the cast of The Crucible as Abigail Williams. Erin played the lead in BBC One/Amazon Prime thriller series Chloe, which garnered five star reviews and critical acclaim for Erin. Erin will next be seen in new feature film Firebrand, opposite Jude Law, and in feature film Reawakening opposite Juliet Stevenson, both of which will have a theatrical release this year.

Erin attended the Bristol Old Vic Theatre School, playing a range of leading roles during her three years of training. During this time, Doherty was selected to take part in the professional production of Pink Mist at the Bristol Old Vic, and was the winner of The Stephen Sondheim Society Student Performer of the Year 2015.

Her debut performance upon graduation in 2015 was as Laura in Ellen McDougall’s The Glass Menagerie, after which Doherty was cast as Tamsin in Katherine Soper’s debut play Wish List (2016) at Manchester’s Royal Exchange and London’s Royal Court Theatre. Her performance was recognised by the Manchester Theatre Awards, naming Doherty as Best Actress in a Studio Production 2017.

In 2017, she appeared as Fiz in BAFTA Award-winning writer Jack Thorne’s Junkyard, which earned her rave reviews: “Doherty is the star here, and by rights will soon be a star full-stop” WhatsOnStage. Later that same year, she took on the leading role in Aykbourn’s The Divide at the Edinburgh International Festival, remounting it early in 2018 at London’s Old Vic Theatre. The Telegraph noted her “luminous central performance”.

Also in 2017, Doherty received high critical acclaim in The Young Vic’s production of the one woman show My Name Is Rachel Corrie. The Guardian applauded her stunning performance, marking her out as “one of the year’s great discoveries”.

Doherty closed 2017 with a run at London’s Old Vic Theatre, playing the leading role of Belle opposite Rhy Ifans’ Scrooge in Matthew Warchus’ production of A Christmas Carol. In 2019 Doherty was once again on stage in Wolfie at Theatre 503.

Doherty’s inaugural television role was as a guest star in the BBC’s Call The Midwife in 2016, followed by the BBC adaptation of Les Miserables in 2018 before landing the role of Princess Anne in Net­flix’s world-wide hit series The Crown.

Sharon Duncan-Brewster

Sharon Duncan-Brewster’s outstanding skills as an actress are reflected in the diverse range of theatre, television and film credits she has acquired over the years. Most recently, she was seen in the blockbuster film Dune for Warner Bros, playing the role of Dr Liet Kynes, Enola Holmes on Netflix and as Tula Quik in Sky’s drama Intergalactic. 

Theatre includes: Victory Condition (Royal Court Theatre), Meet Me At Dawn (Traverse Theatre), The Almighty Sometimes (Manchester Royal Exchange), Swallow (Traverse Theatre), A Midsummer Night’s Dream (Liverpool Everyman) and The Not Black and White Season (Tricycle Theatre).

Television includes: Sex Education (Netflix), Years & Years (BBC), The Long Song (BBC), Top Boy (Channel 4), The Bible (History Channel), Cucumber (Channel 4), The Mimic (Channel 4), Bad Girls (ITV), Doctor Who (BBC) and EastEnders (BBC).

Film includes: The Intent 2: The Come Up, Rogue One: A Star Wars Story (Disney/Lucas films) and Three and Out (Rovinge).

CREATIVES

Clint Dyer – Co-Writer and Director

Clint Dyeris the Deputy Artistic Director of the National Theatre.  Over the course of his award-winning career, he has worked across theatre, film and TV as an actor, writer and director. His work at the National Theatre includes the role of Cutler in Ma Rainey’s Black Bottom, he has co-written and directed the Death of England series, including the BAFTA nominated filmed episode Death of England: Face to Face and, mostly recently, he directed a critically acclaimed production of Othello.  Other recent directing credits include Get Up, Stand Up! The Bob Barley Musical in the West End.  He is also set to write and direct, Ali, a new musical celebrating the life and legacy of Muhammad Ali. 

Roy Williams – Co-Writer

Roy Williams began writing plays in 1990 and is now arguably one of the country’s leading dramatists. In 2000 he was the joint winner of The George Devine Award and in 2001 he was awarded the Evening Standard Award for Most Promising Playwright. He was awarded the OBE for Services to Drama in the 2008 Birthday Honours List and was made a fellow of The Royal Society of Literature in 2018.

Roy Williams’ work in theatre includes Death of England, Death of England: Delroy, Death of England: Closing Time (all co-written with Clint Dyer), Baby Girl, Slow Time and Sing Yer Heart Out for the Lads for the National Theatre; The Lonely Londoners for Jermyn Street Theatre; Sucker Punch (Olivier Award nomination for Best Play and joint winner of the Alfred Fagon Award), Fallout, Clubland and Lift Off at the Royal Court. Days of Significance for the RSC; Wildefire, Local Boy, The Firm and The Fellowship at Hampstead Theatre. Out West and Absolute Beginners at Lyric Hammersmith; The No-Boys Cricket Club and Kingston 14 at Stratford East; and Soul: The Untold Story of Marvin Gaye for Hackney Empire at the Royal & Derngate. 

His work for TV and film includes Death Of England: Face to Face (BAFTA nomination for Best single drama) Soon Gone: A Windrush Chronicle (BAFTA nominated for Best Short Form Programme), Fallout, Babyfather, Offside and Fast Girls.

Radio includes The Likes of Us, The Midwich Cuckoos (adaptation), Faith Hope & Glory, Bess Loves Porgy and eight series of The Interrogation. 

Director                                             Clint Dyer

Co-Set and Costume Designer     Sadeysa Greenaway-Bailey

Co-Set and Costume Designer     ULTZ
Lighting Designer                            Jackie Shemesh

Co-Sound Designer                         Benjamin Grant

Co-Sound Designer                         Pete Malkin

Associate Director                          Anastasia Osei-Kuffour

www.sohoplace.org     

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deathofengland.com

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BOX OFFICE INFORMATION

Box Office

www.sohoplace.org     

0330 333 5961

4 Soho Place | London | W1D 3BG

Access Bookings/Customer Ticketing Enquiries: 0330 333 5962

Group Bookings: 0330 333 5963

@sohoplace

15 July – 28 September 2024

Death of England: Michael from 15 July

Death of England: Delroy from 23 July

Death of England: Closing Time from 22 August

Please see deathofengland.com for full performance schedule.

Ticket prices

From £20

Season tickets available

Groups and education rates available

Fair access: 50% off across all bands

Access @sohoplace

BSL interpreted, Audio Described and Captioned performances to be announced.

@sohoplace has wheelchair access on stalls level and wider seats available for patrons with access needs. 

[email protected]

Ticketing @sohoplace

@sohoplace has contactless ticketing for every performances. Tickets will be issued electronically 48 hours prior to the performance.  

[email protected]

Cloakroom @sohoplace

The theatre has a large cloakroom that can be used by all patrons free of charge. Out of respect for patrons and the auditorium, we request that large bags are checked into the cloak room.

Feedback @sohoplace

We welcome all feedback on patrons’ experience with the venue and encourage patrons to email us [email protected]

The Other Place, Stratford-upon-Avon – until 1st June 2024 and then at the Kiln Theatre, London – until 29th June 2024 London

Reviewed by Amarjeet Singh

4****

Four adult students are gathered in a classroom in Karaj, Iran, with the shared goal of learning English as a foreign language. All for different reasons, all with different abilities they are under strict instructions by the teacher that they must only communicate via English during lessons. The production follows their journeys, to varying degrees, as they attempt to improve their vocabulary, pronunciation and rid themselves of their accents, but to what end.

Sanaz Toossi’s Pulitzer prize-winning play is a beautiful, charming, and incredibly funny production, full of heart and passion. You feel endeared towards the characters and begin to become invested in them as their stories unfold. Elham (Serena Manteghi) is a dedicated student who needs to attend this class in order to achieve her English-language certificate for medical school overseas. Determined, she is frustrated by the barrier language is posing. Omid (Nojan Khazai), has mysterious reasons for needing to be in class. His English is of a high standard, so there is something else drawing him to the class. Roya (Lanna Joffrey) is a grandmother who is desperate to connect with her grandchild. Her son emigrated to Canada, married, and had a grandchild and only wants Roya over when she can communicate with the child in English. Then there is Goli (Sara Hazemi), an enthusiastic teenager who’s only reason I could fathom, for being in the classroom, was to learn English, nothing more. Led by teacher Marjan, Nadia Albina, who has her own tales of learning English, they are all studying towards a final English exam.

Director, Diyan Zora, kept the performance fresh and dynamic. Along with the creative team, Set and Costume Designer Anisha Fields, Lighting Designer Elliot Griggs, Sound Designer George Dennis, Movement Director Maria Tarokh, they created a fully immersive piece. Announcing scene changes with the sound of the streets suddenly stopped with the switch of a light. Stonewashed walls strewn with Arabic. Slow, undulating fans to stave off the heat. The students playing word games by tossing a ball, listening to American language recordings, watching projected films and perform role-plays. This all drew us in to the world Toossi created. The masterful move to have two kinds of English spoken by the actors was utter genius, it didn’t take long for us to understand what was going on. Fluent and English accented English represented Farsi. Broken, Iranian accented English represented actual English. It cleverly displayed when the characters were talking in their native language and when they were struggling in English without the audience ever having to struggle to understand them. This switch is so seamlessly achieved, it was mindboggling.

My only complaint is that I felt there was a lack of character realisation. Some were more fleshed out then others. It felt that some were there to provide comedic moments instead of having a fully formed story. Which is a real shame as there are some real gems beginning to sparkle, they just need to be polished.

There is so much heart in this peace and the humour absolutely hits the mark every single time. Your mother tongue is intrinsic with your mother land, this moving exploration of migration and motivation is magnificent.

Park Theatre, London – until 15 June 2024

Reviewed by Claire Roderick

3***

Writer and director Ofra Daniel’s takes the biblical Song of Songs and reimagines the themes of the power of love and sensuality in this energetic show.

Beginning with a narration that sets the story in Jerusalem during biblical times, the show morphs into a world that is timeless and placeless with its fusion of middle eastern, klezmer and flamenco influences. Driven out of Jerusalem because of her disturbing behaviour many years ago, Tirzah is regarded as a mad sage of love and romance in her new home. People come to her for advice, which she proffers in mystical/nonsensical snippets of poetry. Asked to tell her tale of how she came to this place, Tirzah goes back to her youth and her marriage to the local fishmonger, a widow, decades older than her with children for her to care for.

The awkwardness between the couple at their wedding is displayed sweetly, and Matthew Woodyatt is the grounding force in the production as his quiet and cuckolded husband watches on mutely and sadly as the bride he can’t connect with becomes more distant. Their inability to have more children is a huge issue for Tirzah, but on her 30th birthday she receives a bouquet of jasmine and a letter of love poetry. Her imaginings of this mysterious lover become an obsession, and she risks losing everything as her stolen moments with him take precedence over everything in her life. As she becomes closer to her lover and discovers, then revels in, her newfound sensuality her apathy towards her husband grows and the womenfolk of Jerusalem take notice. While the ancient Song of Songs explores lovers in harmony, in Daniel’s show Tirzah isolates herself in her lovestruck bubble and her behaviour becomes discordant with the people of Jerusalem.

Marina Paz’s set gives the incredible musicians (Daniel Gouly (music captain and clarinets), Ashley Blasse (upright bass), Amy Price (violin), Ant Romero (percussion) and Ramón Ruiz (flamenco guitar)) every opportunity to take the spotlight, with a platform for them to move to and join in the dancing. The show has a gig musical feel, and it is the music and dancing that provide the energy and interest. Ofra Daniel, Lior Ben-Hur, Ali Paris and Yuvai Ron have collaborated to create a score with a vibrant mix of influences that moves from upbeat and infectious to sensuality and plaintive laments. Billy Mitchell’s enjoyable choreography – swinging skirts and shawls playing a huge part – is just varied enough to keep the momentum from flagging. Like the original, a chorus of women provide helpful/malicious advice and judgement, and Laurel Dougall, Rebecca Giacopazzi, Shira Kravitz, Ashleigh Schuman bring wonderful energy and comedy to their dance numbers. Joaquin Pedro Valdes is great fun as an elderly aunt, and then switches from comedy to mysterious passion as Tirzah’s imagined lover. He also gets to sing the best song in the production – Dance For Me – and display his fantastic vocal talents.

Ofra Daniel is a force of nature in her performance. Her movement as the older, insane, Tirzah eternally waiting for her lover are weird and wonderful, and her portrayal of the girl’s sexual self-discovery is physically astonishing. The dynamism and excitement of the dancing is sadly not as consistent in the book, with the laudable and understandable attempt to use poetic language making some sections of narrative drag a little after such memorable music. The big reveal at the end is not much of a surprise thanks to Matthew Woodyatt’s stellar and moving portrayal of Tirzah’s underwritten husband, but the excitement and vibrancy of the production is undeniable.

The Birmingham Rep – until Thursday 25th May 2024

Reviewed by Amarjeet Singh

4****

Withnail and I is a 1987 dark British comedy film written and directed by Bruce Robinson. The plot follows two unemployed actors, Withnail and “I”, who share a flat in Camden, London in the late 1960s. In need of a holiday, they drive to a country cottage belonging to Withnail’s eccentric uncle Monty. But instead of relaxation and recouperation they encounter a whole host of calamities which has resulted in this film becoming a cult classic.

This live rendition at Birmingham’s Rep Theatre has been adapted for the stage by Robinson himself and is directed by the brilliant Sean Foley. Much of Robinson’s script is a wonderfully word-for-word duplicate of the film, including all its infectiously quotable lines. The notorious “We want the finest wines available to humanity. We want them here and we want them now!” got a resounding whoop from the audience as nostalgia rippled through the crowd.

Robert Sheehan’s portrayal of Withnail is fabulously flamboyant. It’s difficult when there are big shoes to fill, but I didn’t feel he is trying to emulate Richard E Grant, but rather put his own spin on the character. I would have appreciated a little more light and dark instead of total freneticism, just to offer some balance and flesh out Withnail’s humanity, but other than that he is hilarious. Adonis Siddique is a delight as Marwood/’I’. Funny, flawed, and feeble, his comic timing is perfection. Malcolm Sinclair’s marvellous portrayal of Uncle Monty is handled with more subtly than in the film, which was a necessary adjustment as times have changed. Adam Young is phenomenal as drug dealer Danny, his stoned threats and philosophies had the audience in stitches. Alice Power’s incredible set aided by Akhila Krishnan’s large-scale video, consisted of projections on screens, a sloped stage, offering depth and dimension, set pieces sliding in and out on a mechanical floor and the wildest colours and shapes. These set the tone and times as well as giving a proper psychedelic feel to the production. Throw in the punctuated scene changes by a live band belting out bangers from the original film and you have an astounding assault on the senses.

Withnail and I was a perfectly performed piece of theatre, visually stunning and an excellent tribute to the cult classic, but it might only appeal to those hardened fans of the original.

LADY, BE GOOD

A BRAND-NEW PRODUCTION OF THE GERSHWIN MUSICAL

PREMIERES AT TEATRO MASSIMO OPERA HOUSE, PALERMO, ITALY

FROM 18 TO 25 JUNE 2024

WITH A CAST HEADED BY MATT BLAKER, RHIANNON CHESTERMAN & WILL RICHARDSON

Produced by Teatro de la Zarzuela de Madrid with Associate Production and Principal Casting from Scott Garnham & Simon Schofield for Sisco Entertainment, a brand-new production of the Gershwin musical LADY, BE GOOD will premiere at the Teatro Massimo Opera House in Palermo, Italy on Tuesday 18 June.

LADY, BE GOOD is a musical in two acts by George Gershwin with lyrics by Ira Gershwin and a libretto by Guy Bolton and Fred Thompson. It premiered on Broadway in 1924 starring brother and sister performers Fred and Adele Astaire and subsequently opened, with the Astaires, in London in 1926. The show was made into a 1941 film starring MGM actress and dancer Eleanor Powell.

Starring Matt Blaker as Dick Trevor, Rhiannon Chesterman as Susie Trevor and Will Richardson as Jack Robinson, the show also features Celia Graham as Josephine Wanderwater, Ian Virgo as ”Watty” Watkins, Devon-Elise Johnson as Shirley Vernon, Jessica Daley as Daisy Parke, Gary Trainor as Bertie Bassett, Ryan Heenan as Jeff Whiteand Ashley Cavender as Rufus Parkewith Manuel Estrada and others.

The production is directed by Emilio Sagi, choregraphed by Nuria Castejón, with scenic design by Daniel Bianco, costume design by Jesús Ruiz and lighting design by Eduardo Bravo.

LADY, BE GOOD whisks audiences away on a delightful romp through the dazzling world of 1920s New York, where a tale of mistaken identity, love, and mischievous antics unfolds. The musical revolves around the misadventures of the charming brother-sister duo, Dick and Susie Trevor, as they strive to make a name for themselves in the world of song and dance. From the infectious melodies of “Fascinating Rhythm” to the playful energy of “The Half of It, Dearie, Blues,” the musical’s toe-tapping tunes set the stage for a lively narrative that brims with humor, romance, and the spirit of the Jazz Age.

As the plot thickens and the characters find themselves in a series of comical misunderstandings and romantic entanglements, audiences are treated to a whirlwind of laughter, charm, and toe-tapping melodies that capture the essence of an era marked by its vivacious spirit and effervescent energy.

Soho Theatre, Dean St, London – until Saturday 18th May 2024

Reviewed by Phil Brown

5*****

I’m not really sure how Dave Hill, originally from Cleveland, Ohio, arrived at the title of this brilliant show, but I think I see what he means.  Although he is in total control of the array of advanced electronics in front of him, (and therefore is an advanced member of our species), you get the feeling that he still doesn’t quite fit into the modern, adult world and probably likes it that way.   

He explodes onto stage like an overgrown teenager in a patch encrusted jump suit and helmet, riding a BMX bike which he skids into a bank of seats your reviewer had recently vacated for a better view.  A few minutes of total chaos ensue as Dave shreds his Flying V like a 70s guitar hero, amidst an eruption of special effects – fog and snow… “Whatever you do, don’t breathe in”

There is something instantly likeable about the youthful Dave Hill, helped by mining a different seam of inspiration from many modern comedians.   This guy isn’t trying to make a point, he is trying to entertain and he succeeds in spades.   His delivery is an endearing blend of nerdy humility, petulant energy, resignation, dry asides and surreal flights of fancy, with a semi-tic of saying “thank you” timed for maximum amusement.   He seems to absolutely fizz with thoughts that are barely complete before being overtaken by the next.  And I’m guessing he spent a long time in a teenage bedroom getting this accomplished on guitar.

He launches into the show with audience requests (any song) that humorously last a few seconds before introducing the things he loves about London – the history, the landscapes, the sex, and, er, Poundland – which becomes the vehicle for an hilarious excursion into his plans for updating the firm’s advertising strategy – “we sell everything except dignity”.  He then engages expertly with the audience on his never fail “pick up lines” for girls in London, introducing the back up musicians (bass and drums) to lay down a tasty groove in support, as well as becoming another target for his withering humour.

Judging by the number of mentions, religion seems to be reasonably high in Dave’s consciousness and the quality of his material maintains its upward curve as he reinterprets the loaves and fishes miracle to seriously comic effect.  Even his merch pitch is laced with richly self deprecating humour – “if I cared about money, this wouldn’t be the act”

Dave Hill is living proof of Ben Elton’s theory of comedians – the buttock clenching nature of the occupation means that their backsides age much faster than the rest of the body.  Dave’s appearance of arrested youth belies the fact he’s been in his forties for “at least 10 years now” – a surprising age, especially given his mostly laid back demeanour, to get into your first fist fight, which inspired his closing piece and pièce de résistance, an insanely catchy, cleverly constructed song documenting the event.  He then sets his guitar to feed back and as the band continues to play exits, as he arrived, in a blaze of BMX bike..

This well paced, gloriously original show is a wholly compelling joy.  It’s brim full of keen observation, crazy ideas, non-stop laugh out loud comedy and superb musicianship.  I loved it.  

Apollo Theatre – until 28th September 2024

Reviewed by Fiona Leyman

5*****

Those of us, of a certain generation, will remember growing up with the classic sitcom Fawlty Towers. The story of a small hotel in the coastal town of Torquay, where not everything goes to plan for its ill-tempered owner Basil Fawlty and his bossy wife Sybil. First airing in 1975, comedy genius John Cleese and Connie Booth created a timeless British series that has stood the test of time for nearly 50 years. Although this tv series was only 12 episodes long, many of us will remember watching re-runs on UK Gold. John Cleese has now adapted this beloved classic for the stage, bringing chaos, old school gags and iconic characters to a new audience.

Fawlty Towers – The Play combines three of the show’s most celebrated episodes to create a seamless adaptation. The Hotel Inspectors, Communication Problems, and my personal favourite, The Germans, have all been brought back to life with the same comical humour that we’ve seen on screen. What’s more, John Cleese has remained true to his word and has not created a politically correct version of his show. The farcical chaos that unfolds throughout remains true to its original form, eliciting feelings of nostalgia from the audience. I had John Cleese in my eye line the entire time, and it was lovely to watch him roar with laughter at jokes and sketches he wrote and has undoubtedly seen a thousand times. The same could be felt throughout the audience, who knew what was coming yet still found the chaos hilarious.

The casting for this play was exceptional. Anna-Jane Casey (Calendar Girls, Billy Elliot) as Sybil Fawlty was the night’s standout performance. You’d swear you were watching the real Sybil Fawlty onstage. Her demeanour, tone of voice, glares, and one-of-a-kind laugh were so on point that I had to remind myself it was Anna-Jane on stage, rather than Prunella Scales. Adam Jackson-Smith (The 39 Steps) managed to mimic Cleese’s Basil Fawlty to a tee. His dramatic movements, his high-pitched whine and the signature Hitler impression were faultless. It must have been strange for Cleese to sit there and watch Adam create a 2.0 version of himself. Another notable character came from much loved stage and screen actor Paul Nicholas (Grease, Cats, See No Evil) as the forgetful Major. With his years of experience on stage and screen, he depicts the Major with ease. Hemi Yeroham (La Cage aux Folles) plays the loveable bumbling Manuel. Forever being tormented and smacked round the head by Basil, Hemi, brings a comedic charm to this character. Rachel Izen (Les Miserables, A Chorus Line, Chicago) succeeds in to portraying the obnoxious, insufferable character of almost deaf Mrs Richardson and does so with minimal effort.

Liz Ascroft, Set and Costume Designer, deserves special recognition for transporting the audience into Fawlty Towers with her impeccable attention to detail. The smallest details were visible, right down to the 1970s pop-up address book (you know which one I mean!) on the reception counter. Her costume choices for each character, including Sybil’s well-known purple two-piece suit and Basil’s string vest, made these familiar characters stand out on stage.

Fawlty Towers – The Play is the epitome of nostalgia, exquisitely written and expertly adapted for the stage. John Cleese has stayed true to the original form that we all love, masterfully adapting this beloved television series for audiences to reminisce about better days.

JUDI DENCH VISITS THE WATERMILL

FOR AN EXCLUSIVE, ONE-OFF FUNDRAISING EVENT

Fresh from its success at The Stage Awards where it was named Theatre of the Year, joint CEOs Artistic Director Paul Hart andExecutive Director Claire Murray, and the whole team at Newbury’s The Watermill Theatre were thrilled to welcome Dame Judi Dench on Friday 10 May for exclusive, one-off fundraising event – Shakespeare: Judi Dench in conversation with Brendan O’Hea

The event saw Dame Judi Dench give a unique insight into her illustrious career, alongside her friend, actor/director Brendan O’Hea (who directed Under Milk Wood at The Watermill in 2017). Judi shared Shakespearean stories and anecdotes from her illustrious career in the intimate auditorium, against the backdrop of the theatre’s 2024 Shakespeare production – Much Ado About Nothing. Judi also spent time with the acting company, hearing about their experiences and sharing her own insights and stories.

Tickets sold out within hours of going on sale, and the whole event raised over £20,000. The money raised will go to support the theatre to continue to work with local communities and produce a world class programme on stage.  

The amount raised will be subject to match funding from the Watermill Funding Alliance, meaning every £1 raised through ticket sales and donations will be quadrupled. This Funding Alliance brings together Greenham Trust, Bernard Sunley Foundation, Englefield Charitable Trust and Miss Lawrence Trust via The Good Exchange.

Artistic Director Paul Hart said, “We were delighted to welcome Dame Judi Dench and Brendan O’Hea to the Watermill Theatre. It’s so generous of them to give up their time to support our fundraising following a complete cut to our Arts Council grant. 

It was particularly fitting that Judi came and spoke about her career of performing Shakespeare on the set of our current production of Much Ado about Nothing. Her recent book highlights the importance of regional theatre in giving opportunities to actors of all ages but particularly to young performers. 

So many actors have gone on to great things having had early opportunities at the Watermill including Ncuti Gatwa, Johnny Flynn even Sean Bean! And that’s not to mention all the people working backstage and in our creative teams. 

Judi and Brendan have long been supporters of the work at the Watermill and their help has come at an invaluable time for us as we continue to navigate the future without any statutory funding.”

Claire Murray, Executive Director commented, “We are indebted to Dame Judi and Brendan for providing this fantastic boost to our fundraising, and to our partners in the Greenham Trust Funding Alliance who have pledged to match every penny we raised. Dame Judi is such a passionate advocate for the arts, for the importance of introducing young people to Shakespeare and for the value of regional theatre. The funds raised through this event will help us to continue to create the work that she, and we, believe in so passionately.”