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MENIER CHOCOLATE FACTORY ANNOUNCES MAJOR REVIVAL OF

STEPHEN SCHWARTZ AND JOSEPH STEIN’S THE BAKER’S WIFE

PRIORITY BOOKING NOW OPEN – PUBLIC BOOKING OPENS 8 MAY

The Menier Chocolate Factory today announces that fresh from his critically acclaimed opening of The Heart of Rock and Roll on Broadway, Gordon Greenberg returns to the venue to direct The Baker’s Wife – with music and lyrics by Stephen Schwartz and book by Joseph Stein.

This renews the Menier Chocolate Factory’s collaboration with Schwartz, following their production of Pippin in 2011. The production opens on 17 July, with previews from 6 July, and runs until 14 September.

Full casting will be announced shortly. Tickets are currently on sale to Menier Chocolate Factory Supporters, with booking opening to Mailing List Members on 7 May, and public onsale on 8 May.

THE BAKER’S WIFE

Music and Lyrics by Stephen Schwartz and Book by Joseph Stein

Based on the 1938 French film of the same name by Marcel Pagnol and Jean Giono

6 July – 14 September

Director: Gordon Greenberg; Designer: Paul Farnsworth; Lighting Designer: Paul Anderson; Choreography: Matt Cole; Musical Supervisor and Orchestrator: Stuart Morley;

Musical Director: Dustin Conrad

The arrival of a new Baker and his younger wife turns a provincial French village upside down in this cult classic musical from the legendary Stephen Schwartz (composer of Godspell, Wicked, Pippin) and Joseph Stein (writer of Fiddler On The Roof).

Based on the film La Femme du Boulanger by Marcel Pagnol and Jean Giono, The Baker’s Wife is filled with some of Schwartz’s most ravishingly beautiful music, and will immerse the audience into world of Gallic charm in this first major UK revival since its West End première.

Directed by Gordon Greenburg (who previously directed Barnum at the Chocolate Factory), with choreography by Matt Cole (Olivier award winner for Newsies) and designs by Paul Farnworth, this brand new production plays for a limited 10-week season from 6 July.

Stephen Schwartz wrote the music and lyrics for the current West End and Broadway hit Wicked – which is due to be released as a two-part feature film; and has also contributed music and/or lyrics to Godspell, Pippin, The Magic Show, Working (which he also adapted and directed), Rags and Children of Eden. He collaborated with Leonard Bernstein on the English texts for Bernstein’s Mass, and wrote the title song for the play and film Butterflies are Free. For children, he has written songs for two musicals, Captain Louie and My Son Pinocchio. He has also worked in film, collaborating with Alan Menken on the songs for Disney’s Enchanted as well as the animated features Pocahontas and The Hunchback of Notre Dame, and writing the songs for the DreamWorks animated feature The Prince of Egypt. His first opera, Seance on a Wet Afternoon, was produced at Opera Santa Barbara and New York City Opera. Schwartz has been inducted into the Theatre Hall of Fame and the Songwriters Hall of Fame, and has been given a star on the Hollywood Walk of Fame. His many accolade include three Academy Awards and four Grammy Awards.

Joseph Stein won the Tony Award and Drama Critics Circle Award for Fiddler on the Roof. His other musicals include Zorba (Tony nomination, Drama Critics Circle Award); Rags (Tony nomination), Take Me Along (Tony nomination), Juno, Irene (starring Debbie Reynolds), The King of Hearts, All About Us, and So Long, 174^th Street. He also co-authored, with Alan Jay Lerner, Carmelina; and with Will Glickman, Mr. Wonderful, The Body Beautiful and Plain and Fancy. His plays are Enter Laughing, Before the Dawn, and Mrs. Gibbons’ Boys. He wrote the screenplays of Enter Laughing and Fiddler on the Roof, for which he won the Screen Writers Guild Award. In 2008, he was inducted into the Theatre Hall of Fame.

Gordon Greenberg returns to the Menier Chocolate Factory to direct, having previously directed Barnum. HIs current directing/writing projects include The Heart of Rock and Roll (which opened recently on Broadway to critical acclaim)  the hit Off-Broadway show Dracula, A Comedy of Terrors (director & co-writer with Steve Rosen; New World Stages & podcast starring John Stamos, Laura Benanti, & Annaleigh Ashford), a new musical about Picasso (director & co-writer with Stephen Schwartz & Caridad Svich), the NBC television series Most Talkative (co-executive producer/writer),  Crime and Punishment, A Comedy (director & co-writer with Steve Rosen; The Old Globe, San Diego), Single White Female (A.T.G.), The Wedding Banquet (Ang Lee, Hua Musicals, Taiwan), Ghost Tour, The Play, and the new comedy podcast series Rolling Calls starring Julie Halston & Richard Kind (co-writer with Steve Rosen). He co-wrote and directed the Broadway stage adaptation of Irving Berlin’s Holiday Inn (Studio 54 for Roundabout Theatre Company and Universal Pictures Stage Productions) and directed  Guys And Dolls (Chichester Festival Theatre/Savoy Theatre/Phoenix Theatre), Working (59 E 59 in New York – also adapted), Jacques Brel Is Alive And Well… (Drama Desk, Drama League, Outer Critics Award nominations – also adapted), Johnny Baseball (Williamstown), Tangled (Disney), Blue Sky Boys (Capital Rep), Luck Be A Lady  (Asolo), Pirates! Or Gilbert and Sullivan Plunder’d (co-creator; Huntington/Paper Mill/Goodspeed/MUNY), Band Geeks! (also co-writer; Goodspeed), The Baker’s Wife (Paper Mill/Goodspeed), 1776 (Paper Mill), Floyd Collins (Signature), Yentl (Asolo) and Half A Sixpence (Goodspeed).

LISTINGS INFORMATION

MENIER CHOCOLATE FACTORY

POWER OF SAIL

Until 12 May

JERRY’S GIRLS

18 May – 29 June

THE BAKER’S WIFE

6 July – 14 September

Box Office:                         020 7378 1713 (£2.50 transaction fee per booking)

Website:                             www.menierchocolatefactory.com (£1.50 transaction fee per booking)

Tickets:                               Prices vary, as below from discounted preview tickets to premier seats. With the emphasis on ‘the sooner you book, the better the price’:

Please note at this time the restaurant is unable to open due to circumstances beyond the company’s control.

www.menierchocolatefactory.com

Twitter: @MenChocFactory

Instagram: @menierchocolatefactory

NATIONAL THEATRE ANNOUNCES SHARON D CLARKE, NCUTI GATWA AND HUGH SKINNER IN A NEW PRODUCTION OF THE IMPORTANCE OF BEING EARNEST

The National Theatre today announces a new production of Oscar Wilde’s joyful and flamboyant comedy The Importance of Being Earnest. Reimagined by director Max Webster (Macbeth, Life of Pi), who will make his National Theatre debut, the production will run in the Lyttelton theatre from 20 November 2024 to 25 January 2025.

Casting includes Richard Cant (Stan & Ollie, Mary Queen of Scots) as Reverend Canon Chasuble, Sharon D Clarke (Ma Rainey’s Black Bottom, Doctor Who)as Lady Bracknell, Ncuti Gatwa (Doctor Who, Sex Education) as Algernon Moncrieff, Amanda Lawrence (Star Wars: Episode – IX The Rise of Skywalker, Angels in America) as Miss Prism and Hugh Skinner (W1A, Mamma Mia! Here We Go Again) as Jack Worthing. Further casting to be announced.

Director of the National Theatre Rufus Norris said:

‘It is a joy to be welcoming Max Webster in his National Theatre directorial debut with a new production of Oscar Wilde’s hilariously subversive comedy The Importance of Being Earnest. Max has assembled an extraordinary cast to reimagine one of our greatest comedies, with Ncuti Gatwa making his National Theatre debut. We are also delighted to welcome back Richard Cant, Amanda Lawrence, Hugh Skinner and Sharon D Clarke, who is returning to play one of Wilde’s most iconic roles – Lady Bracknell.’ 

Being sensible can be excessively boring. At least Jack thinks so. While assuming the role of dutiful guardian in the country, he lets loose in town under a false identity.  Meanwhile, his friend Algy takes on a similar facade. Unfortunately, living a double life has its drawbacks, especially when it comes to love. Hoping to impress two eligible ladies, the gentlemen find themselves caught in a web of lies from which they must carefully navigate.

Directed by Max Webster with set and costume design by Rae Smith,lighting design by Jon Clark, sound design by Nicola T. Chang, composition by DJ Walde, movement direction by Carrie-Anne Ingrouilleand casting by Alastair Coomer CDG.

The Importance of Being Earnest will join the previously announced Ballet Shoes at the National Theatre for the festive season and will run in the Lyttelton theatre from 20 November 2024 to 25 January 2025, with press performance on 28 November 2024.

Tickets are on sale to the public from Thursday 23 May, nationaltheatre.org.uk

Chichester Festival Theatre – until 11th May 2024

Reviewed by Sally Lumley

4****

Chichester Festival Theatre, under new artistic director Justin Audibert, have opened their 2024 Festival season with The Other Boleyn Girl, based on the novel by Philippa Gregory.

This is the story of the three Boleyn children – Mary (Lucy Phelps), Anne (Freya Mavor) and George (James Corrigan) – and their lives as protagonists and pawns in the perilous Tudor court under King Henry VIII. Born in a time when men held all the power, and women’s key duties were advantageous marriage and providing heirs, Mary and Anne are seen struggling to control their own destinies and achieve their own, very different, ambitions.

The three lead actors are all exceptional in their roles. We feel both the close sibling bonds, and the competitiveness and jealousy which threatens to drive them apart. This production is unflinching, with Anne’s two miscarriages depicted on the stage, and the audience feels the desperation and vulnerability of these characters, so dependent on the whims of the King. Alex Kingston also stands out as their mother, Lady Elizbeth Boleyn. She depicts another woman doing her best to control the world around her. The juxtaposition between her version of motherhood and Mary’s is chilling but we can see both as victims in this ruthless Tudor Court.

The staging plays a key part in the dark world that is created here. At the back of the stage there is always someone lurking and listening, delivering the menace and conspiracy that pervades every moment at court. There are also huge swords hanging over the stage throughout, suggesting the looming inevitability of the ending that we all know must come. The play does, however, have many moments of humour, as well as live music and dance. These help to balance the darker moments of the nearly three hour run time.

Chichester Festival Theatre have produced a strong opener to their new season, and this has set the bar high for what is to follow.

Criterion Theatre, London – until 14 July 2024

Reviewed by Claire Roderick

5*****

Sometimes you just leave the theatre with a warm glow and a big goofy grin – and immediately book a return visit while downloading the cast recording.

Two Strangers is absolutely gorgeous. This new musical about two strangers thrown together and finding common ground has no high stakes drama or big ensemble numbers – the title describes exactly what you’re going to see. But this doesn’t stop it being one of the most engaging and uplifting shows in the West End.

Dougal (Sam Tutty) has been invited to his father’s wedding in New York. The bride’s sister, Robin (Dujonna Gift) has been sent to meet him at the airport before she goes to work. This quick errand doesn’t turn out as Robin thought, as it’s Dougal’s first trip to New York, and his exuberance and persistence lead to him tagging along as she collects the wedding cake. So far, so cliched transatlantic rom com, but Jim Barne and Kit Buchan send up the genre with fabulously sharp and witty songs about Tinder and the horror of the morning after alongside gorgeous ballads and a fantastic pastiche of the true intentions of the men singing those Christmas classics. The lyrics and book brilliantly reveal the vulnerabilities underneath the characters’ facades, and you can’t help but root for the pair to get together, and with vocal performances like this, you’ll be in musical theatre paradise.

Soutra Gilmour’s gorgeous set is a New York skyline built with grey suitcases of all sizes, opened to create beds, counters and tables, and set on a revolve as Tutty and Gift make their way across the city.

Sam Tutty is perfect as Dougal. Brought up on tales of the father he’s never met by his well-meaning mother, Dougal’s life seems to revolve around film and his mum. Equally loveable and annoying, his exhausting energy could be overplayed, but Tutty deftly slips between wide eyed naivety and enthusiasm to quieter vulnerability, making this character adorable. Dujonna Gift is amazing as Robin, jaded and drifting as she watches her big sister’s “perfect” life and dwelling on her past mistakes. Gift’s expressions of embarrassment and disbelief at Dougal’s behaviour are a joy, and as Robin lets down her guard with Dougal, Gift’s beautifully nuanced performance impresses. Together, they are magical, with wonderful chemistry and spirit.

Slick, sweet and utterly charming – this is unmissable.

UNDERBELLY ANNOUNCES A SENSATIONAL LINEUP FOR THE ICONIC

MCEWAN HALL AT THE EDINBURGH FESTIVAL FRINGE 2024

Underbelly are thrilled to announce a host of exciting shows for their largest venue at the Edinburgh Festival Fringe – McEwan Hall. Highlights include: 

●      Hannah Gadsby returns to Edinburgh for the first time since 2017 after winning the Edinburgh Comedy Award (and an Emmy) with their new show Woof!

●      After an incredibly successful run in the Udderbelly in 2022 and a subsequent West-End season, Rob Madge returns with My Son’s a Queer (But What Can You Do) now in Underbelly’s largest venue

●      The Front List, a new partnership between Underbelly and the Edinburgh Book Festival featuring Alan Cumming and Forbes Masson, Alice Oseman, Salman Rushdie and more. 

●      Massaoke celebrates it’s 10^th year as the no. 1 party at the Fringe with Greatest Hits Live and Sing The Musicals

The full McEwan Hall programme: 

Returning to the Fringe after 5 years, an Edinburgh Comedy Award and an Emmy win, Hannah Gadsby joins the programme for eight shows only. Another Fringe success story, Rob Madge returns after an extremely successful 2022 run in the Udderbelly and a subsequent West End season with their award-winning show My Son’s a Queer (But What Can You Do?).  Join them as they recreate their childhood Disney parade – and nobody is going to rain on it. The number 1 party of the Fringe Massaoke comes to McEwan Hall with two shows – Greatest Hits Live and Sing The Musicals.

The Front List is a new partnership with Edinburgh Book Festival including; modern legends of stage and screen, Alan Cumming and Forbes Masson; James O’Brien appearing fresh from his popular LBC radio show; cult favourite author of Heartstopper – now a smash-hit Netflix series, Alice Oseman; every millennial’s parasocial best friend, Dolly Alderton; Booker Prize-winning Salman Rushdie appearing live from his home in New York; Sarah Crossan at a special event for secondary school students as part of the Baillie Gifford Schools Programme; prolific historical novelist Philippa Gregory; Richard Osman discusses his brand-new mystery series; conversation-changing author and mental health activist Matt Haig.Chairs for these events include Jackie Kay, Ian Rankin, Val McDermid, Wren James, Mishal Husain, and Chitra Ramaswamy, with more to be confirmed.

Returning favourites Foil Arms and Hog return after selling out every year since 2009, with their new show Skittish a mix of sketch comedy, audience participation and improvisation, Austentatious, fresh from a smash-hit West End season are celebrating their eleventh Fringe and Scotland’s own Colin Cloud, asking the audience, what do you believe? What impact do those beliefs have on your existence? 

Amazing Bubble Man makes the move from Udderbelly to McEwan Hall this year, ready to mesmerise the whole family with his bubble art, science, magic and fun. World hip-hop champions transport the whole family into the depths of New York with Dance N’Speak Easy, a festive cocktail of dance and song.

Underbelly’s Big Brain Tumour Benefit returns for one night only on Tuesday 13th August, raising much-needed funds for the fight against Brain Tumours. All proceeds go to the Brain Tumour Charity with previous acts including Frank Skinner, Nina Conti, Phil Wang, Russell Howard and Emmanuel Sonubi. The full lineup up will be announced soon. 

Underbelly will once again span across four performance hubs; Bristo Square, Cowgate, George Square and Circus Hub on the Meadows. The full programme across all venues will be announced in May. Underbelly at the Edinburgh Fringe runs from 2nd – 28th August. Festival goers can purchase tickets for the McEwan Hall programme and previously announced events from 10 am Thursday 25 April via the Underbelly website – www.underbellyedinburgh.co.uk

Octagon Theatre, Bolton – until Saturday 18th May 2024

Reviewed by Lauren Fordham

5*****

The excitement I felt at reviewing this show started building when I set out on my journey from Leeds to Bolton as Magic at the Musicals radio station was coincidentally airing the title song ‘Little Shop of Horrors’, a thrill that only crescendoed when the lights went down in the theatre. I was already prepared for the highlight of the show, the fact that several of the actors are also musicians, but was still impressed when Zwelya Mitchell dos Santos as Crystal, Chardai Shaw as Ronette and Janna May as Chiffon not only powerfully belted out ‘Skid Row’ but also played guitars and keyboard, respectively. I enjoyed their colour coordinated costumes and instruments very much, in the manner of ‘Heathers The Musical,’ it made their characters memorable . They may act as backing singers on ‘Skid Row’, but in reality are stars in their own right.

Oliver Mawdsley excels as the stumbling Seymour, displaying both earnestness and desperation in the song Grow For Me ‘I’ve given you grow-lights and mineral supplements, what do you want from me, blood?’ but also passion-fuelled courage when he’s plotting to kill Orin ‘he’s so nasty, treating her rough, you need blood and he’s got more than enough.’ He has a sweet, believable chemistry with Laura Jane Matthewson, who plays Audrey in such an endearing, self-sacrificial way that evokes Eponine in Les Miserables, and indeed, though metaphorical (in the Boublil and Schoenberg epic musical) the lyrics of her demise in ‘Little are not dissimilar, ’You’ll water me and care for me and see me bud and bloom/the rain will make the flowers grow.’

Matthew Ganley is evilly enchanting as Orin, Audrey’s abusive boyfriend, who dances like he should be in Strictly and makes the prospect of a dentist appointment dreadful yet also delicious. He should also be commended for his guitar playing as well as his acting, and seamlessly slipping into multiple roles (he also plays the NBC journalist Bernstein).

Though more political than paternal, in Mushnik and Son, Andrew Whitehead’s performance as the former evokes Tevye in Fiddler on the Roof.

But in many iconic shows, it’s the work that you can’t see being done that makes the biggest spectacle and this is certainly true of Little Shop’s superstar, super-villain, the person-eating plant, Audrey II. The perfect partnership of Anton Stephans, who is her powerful, persuasive voice and Matthew Heywood, her energetic puppeteer, put her on a permanent entertainment pedestal far above other shows. Made in glorious yet gory blood-spattered green fabric by Assistant Puppet Maker Katie Duxbury, she dominates the stage.

Thanks to Puppet Director Michael Fowkes her choreographed movement looks both realistic and effortless. She, and this show, will produce fans like sunlight produces chlorophyll and its popularity will grow and grow.

This show is blooming marvellous, feed this plant with your cash, it will pull you in and devour your heart.

Battersea Arts Centre – until 18 May 2024

Reviewer Alec Legge

5*****

The show was performed in the main hall at the Battersea Arts Centre. The seating was excellent with an unrestricted view of the stage from all seats. No heads in the way due to their steep incline. A very welcome arrangement.

Emma Rice’s Blue Beard is based on an old French folk tale of a rich man’s crazed and bloody passion for murdering his wives. In this musical version the murderer is a magician, played by Tristan Sturrock, who meets Lucky, Robyn Sinclair, when Robyn volunteers to help him on stage. Then there is the illusion of Robyn being cut in half by Blue Beard. Robyn falls in love with him, marries him and goes to live with him.

Blue Beard goes on a trip leaving Robyn with the keys to his residence and saying that she is allowed to go in all the rooms situated within except for one room in particular and shows her the key to that room. Off he goes and of course it is not long before Robyn’s curiosity draws her to enter the room with her mother and sister, Played by Patrycja Kujawska and Stephanie Hockley, where they find the stinking bloody remains of all his previous wives.

On his return Blue Beard finds out from a magic key that the forbidden room has been entered and attempts to murder Robyn, but with the help of her mother and sister, and in a perfectly choreographed slow motion fight the trio finally kill Blue Beard with a knife through the head.

Rice has written a sub plot where a lost brother, Adam Mirsky, is searching for a lost sister, Mirabelle Gremaud, and also added a group of sisters from the Convent of the three F’s, ‘fearful, fucked and furious’, who are led by a Mother Superior, Katey Owen, sporting a blue beard. Of her own.

In all this was a very good show, with the excellent dancing and singing performed cabaret style. There was lots of humour alongside the macabre horror side of the show. Rice states that she was influenced by the recent murders of two women in London and by the events at the vigil for one of them. She has clearly illustrated the misogynistic violence of man against women in this performance.

The addition af a silent film of a lone woman walking through the streets at night and disappearing along an alley whilst being followed by a hooded stalker was particulary spine chilling and illustrated the way Rice was affected by the recent murders.

I should also mention that the use of moveable props and the lighting effects enhanced the performance as did the background music.

All in all I thoroughly enjoyed this performance which I would recommend to all.

MAYFLOWER THEATRE AND THEATRICAL LYDIA

RAISE OVER 25 CRATES OF FOOD

DURING FOOD BANK DRIVE FOR

FEED THE COMMUNITY FOODBANK

To mark Come From Away performing at Mayflower Theatre in Southampton, Theatrical Lydia and Mayflower Theatre ran a foodbank drive which raised over 25 crates full of food which has now been donated to Feed The Community Foodbank in Southampton and is expected to supply the foodbank for over four weeks.

Mayflower Theatre and Theatrical Lydia ran the foodbank drive inline with Pay It Forward 9/11, asking members of the audience to bring along something to donate in the foodbank collection and have been overwhelmed with the generosity from audiences.

At the heart of Come From Away is a story about compassion, community, and resilience. Sharing the incredible real-life story of 7,000 stranded air passengers and the people who welcomed them into their lives with open arms and hearts, giving all that they had.

Theatrical Lydia is following the Come From Away tour all around the UK after first discovering the show in December 2019. It is here that Lydia met Laura Townsend, another firm supporter of the show who saw the show over 150 times worldwide. Laura decided that she was going to travel alongside the tour, carrying out ‘Pay It Forward’ actions in each tour stop. Unfortunately, Laura fell ill last year, and sadly passed away a short time after in June, meaning that she sadly never saw the tour come to fruition. Lydia then decided in honour of her friend that she would then be the one to tour the UK and ‘Pay It Forward’ in as many locations as possible. After noticing Lydia online, Mayflower Theatre reached out keen to help out with the ‘Pay It Forwards’ and this is where the food bank drive idea came to life.

Pay It Forward 9/11 is a global initiative that was set up by the real-life Kevin Tuerff – a real ‘Come From Away’ who features in the show itself. The global initiative aims to spread kindness as a way to honour the Newfoundlanders who inspired the production’s heartwarming true story.

Michael Ockwell, Chief Executive of Mayflower Theatre says ‘The response to our foodbank drive with Theatrical Lydia has been incredible, it really shows that when a community pull together we can achieve amazing things, we are proud of our audiences and know this will make a real impact on the community.’

Lydia Greatrix of Theatrical Lydia says ‘I’m completely taken aback by the generosity and compassion shown by the patrons of Mayflower Theatre through our Pay It Forward Food Bank Drive. Thank you to everyone who opened their hearts and cupboards and showed some true Newfoundland kindness by pulling together as a community to make this happen. I’m so pleased to hear about the huge difference all the donations are going to make.’

Kevin Tuerff, President and Founder of Pay It Forward 9/11 says ‘Mayflower Theatre’s food bank drive was a smashing success. Clearly the people of Southampton have kind hearts like the Canadians I first met on 9/11, who opened their pantries to feed thousands of refugees in need. We invite everyone to keep up this spirit and join us 1st through 11th of September for our “11 Days of Kindness” scheme.” Free registration is available at PayitForward911.org.’

Victoria Ugwoeme, Manager of Feed the Community Foodbank says ‘We want to say a massive thank you to everyone who donated to support the Food Bank Drive organised by Mayflower Theatre and Theatrical Lydia. Southampton audiences have shown how kind-hearted they can be, we are overjoyed by the sheer volume of donations which will help ensure our service users don’t go hungry. Thank you to the audiences of Come From Away.’

To find out more about Pay It Forward 9/11 please visit: https://www.payitforward911.org/

To find out more about Theatrical Lydia’s mission please visit her Instagram: https://www.instagram.com/theatricallydia/

Laurels Theatre Whitley Bay – until 4th May 2024

Reviewed by Sandra Little

5*****

This autobiographical play is written and performed by Sam Macgregor and Jack Robertson and is directed by Eilish Stout-Cairns. It was first performed at Edinburgh Fringe Festival in 2023 and is based on Sam’s true life experience of living with Alopecia. Sam plays himself in this play and Jack plays all of the other larger than life characters that enter Sam’s life.

The play begins with a very funny, yet poignant, eulogy for lost hair and Sam explains that hair loss really does create feelings of loss and grieving. The audience then witness Sam’s experience when visiting an extremely unhelpful doctor who suggests red meat and spinach could be the solution to Sam’s Alopecia!

Other scenes are based on Sam’s experience of dating when bald and for this part of the play Jack’s portrayal of prospective Geordie girlfriends is incredibly funny, and includes some very cringeworthy comments about Sam’s hair loss and the wig he chooses to wear. Within this very amusing dialogue serious issues about hair loss are considered.

The spoof of “ The One Show” continues the hilarious but also upsetting theme that runs through the narrative. The audience witnesses Sam being interviewed by a Geordie One Show presenter and there’s a great bit of dancing from Sam at the end of this scene!

Towards the end of this play the audience are introduced to Sam’s agent and are told about Sam’s acting and modelling offers. The blue paint story was fascinating and funny for a host of reasons!

Included in this hilarious script is a great deal of serious and interesting information about Alopecia and our views of body image and beauty in relation to hair are questioned. Apparently there is very little research relating to Alopecia and yet, as Sam explains, our hair gives us an identity and confidence whereas people with Alopecia have lower self esteem, a poorer quality of life and poorer body image.

This play is based very firmly on Sam’s experience of living with Alopecia, and whilst these observations were often told in a very amusing and entertaining way, the important serious messages were never far from the surface.

This one hour play performed by two actors with a few basic props was one of the best pieces of drama I have seen in a while! It made me laugh, and almost cry on occasions. This play is funny and entertaining but equally there are aspects of the script that really tug at the heart strings. It definitely deserves to move to a bigger theatre and be available to a wider audience after its run at Laurels.

Wilton’s Music Hall – until 11th May 2024

Reviewed by Celia Armand Smith

4****

Herman Melville’s classic tale adapted here by Sebastian Armesto is brought to life by a multi-talented ensemble of actors and musicians. Created by Simple8 in association with Royal & Derngate, this production of Moby Dick is about one man’s quest for knowledge, another man’s need for a revenge, and a whale that absolutely does not want to be harpooned.

At the beginning, we meet Ishmael, a young sailor in Massachusetts who wants to see the world and so goes in search of a whaling boat. On his way he befriends the gentle harpoonist Queequeg and together they board the Pequod, captained by the infamous Ahab. Captain Ahab is seeking vengeance against Moby Dick, the giant white sperm whale who took his leg on a previous voyage. He obsessively charts the seas and tracks the whale pods in the hope of finding and killing Moby Dick.

This original piece of theatre directed by Jesse Jones skillfully captures life on a whaling boat, all tension and exhilaration as they set out to find the whale. The production is soundtracked by musicians who are part of the ensemble led by musical director Jonathan Charles. They innovatively create the sounds of life at sea using instruments and parts of the set designed by Kate Bunce. When first seen, i is a simple construction of scaffolding rigs, but as the play comes to life so does the set. The sides swing in, and the crew of the ship assemble, hoist, and climb, using every part to great effect. Wilton’s Music Hall is a grand old Victorian venue, all distressed decor and iron pillars which echoes the inside of the a ship, making it perfect for this production.

While this adaptation sometimes has a bit of an issue with pacing and some of the characters feel underdeveloped, the ensemble are superb. Mark Arends as Ishmael is all naivety and excitement, while Guy Rhys is fantastic in the role of the mysterious Captain Ahab. Countering Ahab’s dogged determination, is the sensible Starbuck, played with a calm certainty by Hannah Emanuel. The whole cast sings, shifts the set about, and plays an instrument whether it’s a violin or a scrubbing brush.

While this adaptation of a classic tale that everyone knows (“it’s about a whale?”) at times lacks depth, the beautiful execution by an extraordinary cast and crew of talented people more than makes up for it. Catch this compelling theatrical experience as it tours the country this spring and summer, you won’t regret it. And who knows, maybe I’ll read the book.