Home

Festival Theatre, Malvern – until 30th March 2024

Reviewed by Courie Amado Juneau

5*****

Tennessee Williams’s The Glass Menagerie, written in 1944, was the play that turned him into a major force to be reckoned with. It’s an interesting work which tells the story of the Wingfield’s, a family who live within financial constraints that the matriarch is not used to or reconciled with. Her constant interfering in her children’s lives (to avoid the situation perpetuating) causes more than a little friction and heartache.

Amanda Wingfield, a former southern belle whose star has faded after a misjudged union (we’ve all been there – love is, after all, blind), was wrought in sparkling form by Geraldine Somerville. I loved the way she pivoted from old school charm and reverie to explosions of anger, disappointment and frustration – in an intense performance that was at once both quiet and yet turned up to full blast.

Kasper Hilton-Hille played Tom (Amanda’s son). A poetic soul who is suffocated by his home life (specifically living under his mother’s tyrannical thumb) but also an uninspiring job in a factory. Kasper squeezed every ounce of emotion off the page, giving us a character who we totally empathised with and ended up liking enormously in a richly nuanced portrayal.

Laura (Amanda’s daughter) is socially awkward and she increasingly takes comfort in the private refuge of her own crystaline world – the glass menagerie of the title. Like the small glass unicorn that features prominently, she is unique and fragile. Natalie Kimmerling gave us a beautiful reading, showing great range from incredible vulnerability to wonderfully joyous. The superb use of music to symbolise various states like retreating into a cocoon (headphones on) and dance to symbolise finally cracking open her protective shell was particularly effective throughout. Natalie was simply sensational in a performance that was full of motion and emotion.

Zacchaeus Kayode played former star of the high school Jim O’Connor whose athleticism and great voice had caught Laura’s attention years before. A charming, charismatic portrayal that was creditably subtle showed a real understanding of character that does this young actor much justice and rounds out a fine cast.

With wonderful use of light (including candles) allowing a palette of shifting emotions, an interesting circular stage evoking (to me) the cyclic drudgery of life or perhaps the protagonists endless spiral downward emotionally and music like a movie soundtrack setting the mood perfectly the production team should feel justifiably proud of the world they created.

The “One Moment In Time” dance (between Laura and Jim) was the absolute highlight for me. It was the romance I’d been longing for. Just how I remember it is supposed to feel in real life. If only! If this had been on TV I’d have rewound it numerous times.

This play is richly nuanced with many universal echoes that resonate loudly within us. I found myself sitting in my seat at the conclusion wondering just what I had seen. It seemed that I had added as many layers to the play from my own experience as there were already on stage. I could quite happily see this masterpiece again and again and I urge you all to catch it while you can.

The Lyceum Theatre, Sheffield – runs until 30th March 2024

Reviewed by Sophie Dodworth

5*****

The majority of parents will know about Bluey, it’s a huge hit TV show, made in Australia with some fantastic characters. In fact, most parents will probably tell you that they would watch Bluey, even if the kids were not awake! It’s a common joke that this show is aimed more at the parents, than the little ones. It has a reputation for having some real deep and meaningful undercurrents, in each episode (including this stage version), teamed with a lot of laughter.

In this show we find Dad drawn towards sitting on the bean bag, looking at his phone, and not really wanting to play with the kids. He is trying everything he can to stay there, even concealing his phone behind a book he is pretending to read! The kids just want him to play with them. Eventually Bingo hides her dads phone, under instruction from Bluey, and we follow the search for it.

The whole cast work extremely hard on the stage and it’s admirable to watch, as they are working with pre-recorded vocals for all the puppets. Usually the vocal aspect would be live from the actors, but not one made a sound. Staying engaged and looking engaged must be a little laborious maybe at times, so hats off to them all. Maybe, being in the audience you may be a little disappointed at the fact that things are recorded but actually, it added to the authenticity.

The set was really well thought out, for small eyes to be able to see from the auditorium. The lighting was super effective and really enhanced some moments, like the funny dance section where everything was very loud, including the lights. Well done to head of lighting Liam Search.

I am sure that many parents who are theatre lovers will agree, that when your little one comes to see a show with you, you are getting just as much enjoyment from the smiles on their faces as you are the performance, if not more. Well, this show will give you that; Bluey’s Big Play is potentially the best kids show that has been on at the Sheffield Lyceum in a long while, go see it if you can, 50 minutes of heart-warming fun and giggles

Theatre Royal, Windsor- until 30th March 2024

Reviewed by Liberty Noke

5*****

12 Angry Men is a popular play and also movie first performed in 1954 audiences have been enjoying it for 60 years now and this performance made it clear why modern audiences still resonate with the messages of humanity within the play.

The play opens with the 12 men of the jury and a voiceover explains that it is their job to determine whether a man is guilty or not. It is explained that they must be certain he is guilty beyond reasonable doubt as if he is sentenced he will be put to death. The 12 jurors then walk to a room to discuss. The set is simple- a large table, 12 chairs, a watercooler. All very basic. The jurors are all dressed smartly in a muted colour palette but there are differences between their outfits showing that we have men here from all walks of life.

The foreman, played by Owen Oldroyd, conducts a vote and eleven men vote guilty but one votes not guilty. To the eleven it seems easy to vote guilty, they explain that the man stabbed his father to death, but Juror 8 (Jason Merrells) explains that sending someone to their death is an incredibly serious matter and that he thinks it should be discussed. The eleven then begin to lay out the evidence and the audience can start to decide for themselves if they think the accused is guilty or not. Some minds are changed as the play progresses but some of the men are stubborn Juror 3 (Tristan Gemmill) in particular seems certain of the accused’s guilt and seems to take every not guilty vote as a personal loss.

As the men discuss their verdict the table rotates very slowly on the stage. So slowly that you don’t notice at first this enables you to see different angles but I believe it draws a parallel in how your mind is being changed without you even realising it.

Watching this play in 2024 brings different context the accused man is said to be from the slums and it is heavily inferred that he is not white. Juror 5 (Samarge Hamilton) is the only member of the jury who also grew up in the slums. When other members of the jury mention that being from this background is a reason for committing violent crime, suggesting that ‘they’ are all the same Juror number 5 stands up for himself. The fight that ensues is a poignant moment in the play as Juror 5 leaves the room and stands in the corner of the stage simply looking down. Juror 11 (Kenneth Jay) follows him in a protective manner. It’s such a small part of the play but it really stayed with me. The audience is reminded that these generalisations and racism are still around today. It is also evident that in 1954 a jury of only men was not unusual, showing that times have changed.

Reginald Rose’s incredible writing makes this play wonderful. It is rare that a play set in one room featuring a only one long discussion on one topic can engross audiences but I found myself thoroughly invested in the drama. All of the actors gave incredible and believable performances. With themes like morality and humanity as well as the obvious question of “is he guilty?” this play makes for an interesting journey home discussing your thoughts and your own morality. I would recommend to everyone as it is gripping and thought-provoking with themes that resonate.

STORYHOUSE, CHESTER – UNTIL SATURDAY 30TH MARCH 2024

REVIEWED BY MIA BOWEN

5*****

After receiving acclaim in the West End and on Broadway, the stage adaptation of Khaled Hosseini’s novel “The Kite Runner” is now on tour in the UK and Ireland until early July 2024. Set in 1970’s Afghanistan, this production written by Matthew Spangler and directed by Giles Croft, narrates a tale of a friendship, guilt and redemption that significantly influences a lifetime. The play and novel both start with the statement, “I became what I am today at the age of 12” setting the stage for a fictional memoir that delves into childhood mistakes and their lasting impact.

The play begins with a conversation in Dari, one of Afghanistan’s official languages, between a young Amir, a wealthy Pashtun boy and his servant and loyal friend Hassan, a Hazara boy. I didn’t understand the initial dialogue but as I watched the two boys playing innocently, with their playful gestures and expressions, I was reminded that ‘play’ is the universal language of children.

Staying faithful to the book, this production tackles the tough realities of life in Afghanistan. It highlights the stark divides in social classes and delves into the country’s history marked by coups, invasions, insurgencies, and civil wars. This play delivers a powerful and impactful message with its portrayals of death, rape and violence.

The content can be tough to watch at times, but the actors’ warmth and the writing combine, to deliver an incredibly touching and thought-provoking performance. Stuart Vincent shines in his role as Amir, captivating the audience with his passion and complexity, even in moments when his character may be unlikeable. Despite this, you still find yourself empathising with him. Hearing his description of a kite tournament far above the treetops, while pretending to hold a string, is so compelling! Yazdan Qafouri delivers a powerful performance as Hassan, portraying him as brave and resilient, which intensifies the emotional impact of his hardships.

Indeed, the entire cast delivered a remarkable performance, narrating the story with great passion and energy, brimming with emotions and humanity. The percussionist, Hanif Khan, played a crucial role in captivating the audience and transporting them on a profound journey through Afghanistan to experience the story once again.

The Kite Runner‘s tremendous success as a novel, film, and stage adaptation can be attributed to its ability to evoke a wide range of human emotions and explore complex relationships in a captivating manner. It takes you on a heartbreaking journey that is touching and intensely powerful!

Hull New Theatre – until 30th March 2024

Reviewed by Dawn Bennett

5*****

Up to last night I hadn’t seen the Life of Pi on stage which was adapted by Lolita Chakrabarti, watched the film or read the novel by Yann Martel. I knew roughly what the story was about and had seen how many Olivier Awards the stage production had won (five, including one for the seven performers who puppeteer the Tiger “Richard Parker”). But really nothing could have prepared me for how good a production it actually was, the actors, set, puppets and the storyline were outstanding.

The story takes us to the hospital room of Pi (Divesh Subaskaran) and in flashbacks we see how he ended up in the hospital the only survivor of a boat taking him, his family and the animals from their zoo from India to Canada. The special effects are amazing from the rain storms on the boat, the changing sets to the different puppets on the stage including an orangutan, hyena and a zebra to name a few. The story is harrowing at times, showing how animals and people can behave in nature and when the odds are against them but the story was beautifully portrayed. You really need to go and watch this story unfold and see how the story is told.

Divesh Subaskaran, who according to the programme playing Pi is his professional debut, is a fabulous actor. He played the part with such ability and maturity you would think he was many years into his career. The sets and costumes (designed by Tim Hatley) helped set the scenes brilliantly. All the puppeteers (Antony Antunes, Sebastian Goffin, Akash Heer, Romina Hytten, Katie Kennedy-Rose, Aizah Khan, Kate Roswell, Tom Stacy and Peter Twose) were magnificent. They really made me believe that I was watching real animals on stage. Until the final curtain call, I hadn’t realised how small the cast was and how they played multiple parts in the show so well.

If you want to see an award-winning show, with an amazing cast and a fabulous and interesting storyline you won’t want to miss this show.

The Theatrical Guild to launch star-studded ‘An Audience With’ series 

as part of the charity’s 2024 fundraising initiatives

Brian Cox, James Norton, Golda Rosheuvel, Marianne Elliot OBE and Hugh Sachs are amongst the stars confirmed to headline a series of intimate theatre industry conversations, taking place throughout 2024 

The newly coined series will join The Theatrical Guild’s long-standing roster of fundraising initiatives in support of Backstage and Front of House staff

London, 29 February, 2024: The Theatrical Guild, the UK industry charity dedicated to supporting Backstage and Front of House staff, has announced the launch of a new fundraising series for 2024 entitled, ‘An Audience With’. Headlined by a roster of beloved stage and screen actors, the exclusive ticketed series will see all funds go towards the charity’s ongoing support of beneficiaries experiencing hardship at any stage of their career – including short term financial support, counselling, mid-career training schemes and more.

Amongst stars confirmed for the 2024 series are Brian Cox (‘Succession’ & ‘Long Day’s Journey Into Night’) moderated by Alan Cox; James Norton (‘A Little Life’) moderated by Claire Cartwright; and Golda Rosheuvel (‘Queen Charlotte’), Hugh Sachs (‘Bridgerton’) and Marianne Elliot OBE in conversation together – with further names to be announced. Taking place in venues across the West End, audiences will be given an intimate account into the actors’ career and latest projects, alongside a moderated audience Q&A.  

Amanda Parker, General Manager of The Theatrical Guild, commented: “After months of planning, we are incredibly excited to raise the curtain on TTG’s “An Audience With” series of events. With the generous involvement of our celebrity guests, we hope to engage a broad pool of supporters, and bring a wider awareness to the work of the charity in 2024.

The first event in the series, ‘An Audience with Brian Cox’, is confirmed to take place on 

Sunday 2nd June at 3pm

at the Leicester Square Theatre, 6 Leicester Place, London WC2H 7BX

Tickets range from £35 – £100 (booking fees apply) and can be purchased via 

The Leicester Square Theatre Box Office on 020 7734 2222 

or via www.leicestersquaretheatre.com

Brian Cox : “As an Actor I am aware that without our Backstage and Front of House staff my job would be impossible – and these unsung heroes are the backbone of all theatrical experiences across the UK. But when life is challenging The Theatrical Guild is always ready to listen and to help with financial support, counselling or mid-career training. So, I am delighted to support this wonderful charity with their “An Audience With” series.”  

Royal & Derngate Theatre, Northampton – until Saturday 30th March then touring the UK

Review by Amanda Allen

4****

I purposely didn’t research this production before going to see it as I wanted the surprise of the unexpected that the advertising promised, and I wasn’t disappointed. Time Machine written by Steven Canny and John Nicholson was certainly funny, more due to the excellent comedic talents of the 3 main characters than anything else. The performance tonight featured Noah Marullo playing the part normally taken by Amy Revelle and he was simply hilarious. The fact that he was understudying at the last minute and had to hold a script throughout the performance, and they had had limited rehearsal time simply added to the comedic madness of the show.

This adaptation starts off as three actors, George Kemp, Michael Dylan and Noah Marullo, switch from performing The Importance of Being Earnest and attempt to recreate HG Wells Time Machine after being cajoled by Dave, who is the great-great grandson of HG Wells. Directed by Orla O’Loughlin, this show is marketed to be an adaptation like no other, when the world of science fiction and science fact collide, and it certainly lives up to the hype. George Kemp tried so hard to influence the rest of the cast into doing things his way but everything just kept going wrong! The first half was a little slow but set the scene for the madness of the second half by explaining the time traveling paradox’, introducing the characters and outlining the story. Things very soon start to go awry with technical problems, lines outs of sync, sounds of props falling off stage, all very much in the style of “The Play That Goes Wrong” type of theatre. The ringing of a phone in the audience was so perfectly timed, that I am still not sure if it was a prop call or an someone in the audience had failed to put their phone on silent!

The plot, rescuing a character from mortal danger almost completely consumes act two, that said there is not much plot to unfold but more pantomime style shenanigans including quite a few members of the audience, with live portraiture, using an audience member’s phone and an audience member being invited to be Michael’s last ever date on stage. The chemistry and comedic timing between the 3 actors was exceptional but for me the outstanding performance was from Michael, he is certainly dramatic, very funny and not only manages to do an Irish jig and hip hop mash up but also delivers a soliloquy with great pathos. They all really owned the stage with their melodramatic performances .

If you struggle with the idea of audience interaction, I suggest sitting in the circle as the entire stalls, including myself, who ended up on stage as Michael’s “date” get equally picked on. If you are a fan of comedic mishaps, outrageous innuendo, badly sung Cher tribute songs and hip-hop mashups, I’d suggest that time waits for no one and you’d better go to see this show whilst you can.

ADDITIONAL CASTING ANNOUNCED FOR

COOL RIDER: 10^TH ANNIVERSARY CONCERT
STARRING

AARON SIDWELL AS MICHAEL CARRINGTON

ASHLEIGH GRAY AS STEPHANIE ZINONE

KITTY SCOTT-CLAUS AS THE FRENCH ONE

AND

GREASE 2 STAR MAXWELL CAULFIELD JOINS THE FACULTY AS MR STUART

TuckShop, in association with Christopher D. Clegg and James DP Drury, has today announced additional casting of their reunion concert of Cool Rider at The London Palladium on Sunday 14 April at 7pm, which marks the tenth anniversary of the cult-concert.

The cult musical sequel, which is a loving, unofficial parody and tribute to everyone’s favourite follow-up movie, played at the Lyric Theatre for two sold out shows, followed by a smash hit run at Duchess Theatre in April 2014 and was immortalised in May 2015 with the Original Studio Cast Recording, which was funded by fans through a Kickstarter.

West End stars Aaron Sidwell (Lord of the Rings, Wicked) and Ashleigh Gray (Wicked, Only Fools and Horses The Musical) will reunite and reprise their roles of ‘Michael Carrington’ and ‘Stephanie Zinone’ respectively with RuPaul’s Drag Race UK star Kitty Scott-Claus (Death Drop) taking on the role of ‘The French One’ and Grease 2 star Maxwell Caulfield (Chicago, Guys & Dolls), aka the original Michael Carrington, joining the faculty as Mr. Stuart. 

Joining them will be Tom Senior (Disney’s Beauty and the Beast, School of Rock)as ‘Johnny’, Hannah Levane (We Will Rock You, Flashdance)as ‘Paulette’, Jacob Fowler (Heathers, Before After)as ‘Louis’, Courtney Bowman (Legally Blonde, SIX)as ‘Sharon’, Kyle Cox (Ain’t Too Proud, Crazy For You) as ‘Goose’, Harry Francis (Mary Poppins, Cats) as ‘Davey’ and Lucinda Lawrence (9 to 5, Charlie and the Chocolate Factory)as ‘Rhonda’. The ensemble will be formed of Selena Barron (Grease), Pamela Blair (Curtains, 42^nd Street), Angus Good (Mamma Mia!), David McIntosh (Disney’s Beauty and the Beast, We Will Rock You), Ashley-Jordon Packer (Disney’s Beauty and the Beast, Cats) and Emily Ann Potter (Joseph and the Technicolor Dreamcoat, The Wizard of Oz).

Hannah Levane, Harry Francis and Lucinda Lawrence will be reprising their roles from the original runs of Cool Rider, with Levane having appeared in both the Lyric Theatre & Duchess Theatre runs and Francis and Lawrence both appearing in the Duchess Theatre run. Levane and Lawrence are also featured in the musical’s crowd-funded Original Studio Cast Recording.

The cult film told the heady and daring love story of two unlikely lovers and their road to romance from bowling alley to burger joint, sing-along-a-sex education class to talent show, and long (beautifully lit) romantic motorcycle rides to a slightly incongruous luau ending. Much like its musical prequel, the story follows the ancient High School motto: if you want the guy/girl, change your personality beyond recognition and wear overly tight leather in the finale.

This concert is a loving, unofficial parody, tribute, celebration of the music from the greasiest sequel ever made and (arguably) the best musical score ever committed to cinema… Featuring the songs: BACK TO SCHOOL SCORE TONIGHT COOL RIDER WHO’S THAT GUY? REPRODUCTION DO IT FOR OUR COUNTRY CHARADES PROWLIN’ GIRL FOR ALL SEASONS (LOVE WILL) TURN BACK THE HANDS OF TIME ROCK-A-HULA-LUAU (SUMMER IS COMING) WE’LL BE TOGETHER and more!

From the company who brought you Death Drop, Miz Cracker in Who’s Holiday, GALS ALOUD and sell out drag pantos at the Harold Pinter, Trafalgar, and Phoenix theatres, the concert will be directed by Christopher D. Clegg, musical direction and orchestrations by Lee Freeman, choreography by Matt Krzan, original direction by Guy Unsworth, lighting design by Toby Darvill, costumes by Ryan Webster, and sound design by Will Thompson. Cool Rider was originally conceived and co-produced by Christopher D. Clegg and James DP Drury.

Critically acclaimed writer Grace Carroll presents
Drag Baby – hilarious and heart-warming new
play on queer friendships and chosen family
Pleasance London, Downstairs, Carpenters Mews, North Road, London, N7 9EF
Tuesday 4th June – Saturday 22nd June 2024

Following the critically acclaimed Wet, Grace Carroll’s new play will be coming to Pleasance London this June. A compelling blend of drag performance and theatre, Drag Baby follows the lives of misanthropic drag queen Dan, and his estranged ex-girlfriend, Sally, who reappears in his life to make an all-important request. The pair rekindle their long-lost friendship as Dan decides whether or not to be Sally and her girlfriend’s sperm donor.

Directed by Joseph Winer, this heart-warming story is sprinkled with outrageously entertaining drag. Winer is known best for VAULT favourite I F*cked You in My Spaceship, which won the Origins Award for Outstanding New Work before transferring to Soho Theatre last year. Following a 5-star work-in-progress run at the King’s Head Theatre in 2022, Drag Baby is now set to impress at Pleasance London’s Downstairs Studio, for a 3-week run.

Drag Baby is a queer-led and hilarious narrative, telling a story of friendship, legacy and chosen family. Grappling between his old and new life, Dan must put his fame obsession to one side to make a life-changing decision. Now, he must think about more than getting on TV and decide whether to follow a nobler pursuit: sperm donation. Relationships are renewed and strained, and while drag mentee Nathan struggles to come to terms withDan’s arrangement, chosen families come together.

Grace Carroll’s second play follows debut Wet, which played to sold-out audiences at Theatre N16 and Perdu Theatre Amsterdam. Her play Swipe also appears in the first Little Pieces of Gold Collection “Short Plays with Great Roles for Women”, published by Routledge.

Carroll comments, Drag Baby has been a long labour of love for me and the characters now feel like family rather than people on a page. It feels more important than ever to share this story about a messy bisexual and a drag queen contemplating making a baby in an environment where LGBTQ+ people, gender fluidity and drag are becoming increasingly under attack.

As I entered my 30s the main thing on my mind was making babies, I kept on thinking if I ended up with a female partner, how would the process be? And who would I choose to be the father? The first thought that came to my mind was “I would want the father to be a drag queen” and thus Drag Baby was born. I am so thrilled that this play, which is a love letter to drag and queer community, has found a home at the Pleasance Islington, and I can’t wait for more people to meet these chaotic but hopefully loveable characters.

Previous praise for Drag Baby:

a contemporary piece of work that is conversational, realistic, witty and sometimes brutally
honest… a great piece of queer theatre – ★ ★ ★ ★ ½ London Pub Theatres

Drag Baby is a truly impressive play. – ★ ★ ★ ★ ★ LondonTheatre1

Drag Baby has received generous support from Arts Council England.

Actor, Director and Humanitarian Ben Nealon OBE sat down with fairypowered to answer 20 Questions. Ben is currently appearing in 12 Angry Men, at Windsor Theatre Royal until Saturday 30 March and on tour around the UK, tickets can be found here

Let’s Start with a few favourites

Favourite show (whether you have been in it or not)? 

I would have to say Dial M for Murder directed by Shaun Mathias.  I found out on the Friday I had the role and needed to be ready for the Monday.  I then received a phone call from Bill Kenwright to say forget the script I’d learnt, I was now the lead part of Tony Wendice.  And I managed to learn the entire role in very little time.  So that is my favourite.

Favourite book?

A childhood favourite – The Lord of the Rings

Favourite theatre? 

Windsor Theatre Royal.  I’ve appeared in this theatre every year for many years.  I was in Windsor filming for Soldier Soldier, and if I had known then how much time I would spend in Windsor, I think I would have bought a house here

Favourite song?

Orpheus by David SIlvian

Favourite music? 

Indie – stuff like The Smiths, Lloyd Cole and James

Favourite food? 

Japanese

Favourite drink? 

Double Espresso

What is your favourite role? 

Tony Wendice in Dial M for Murder

What was your first role? 

I was an Angel in the Nativity, with a coathangar for my halo.  But professionally my first role was PC 1 in Between the Lines in 1993.

And what role would you really like to play? 

I think I’m too old now (fairypowered disagrees), but I’d like to be Malcolm in the Scottish Play.  I did it in Drama School but never since.

If you weren’t a performer what would you be?

International Development  I think.  Ben received an OBE in 2012 for his services to Pump Aid.

What made you decide to be a performer? 

I wanted to tell stories to change the world’s perceptions.  To be a storyteller.  This current play, 12 Angry Men does just that.  Its theme’s are as relevant now as when it was written.

Do you enjoy touring?

Yes, but it’s tough on my wife and daughter.  They can no longer come on tour with me.  But I get to see my extended family as I tour the country.  Its regular income and job security and I get paid to see parts of the UK and Ireland I might not normally get the chance to see.

What advice would you give to 16 year old you?

I wouldn’t!  I would let him carry on doing what he is doing.  57 year old Ben is very happy and that is with the choices 16 year old Ben made.  So I would say nothing

Do you fancy branching out in Producing or Directing?

I have done both.  I enjoy Directing but I find Producing very frustrating, taking me further and further away from the creative process.

What was the last stage show you saw and really enjoyed? 

The Girl from the North Country and my daughters Nativity, she was Mary

Favourite line from any show? 

 Not a show as such, but from Golfer Gary Player.  “The more I practise, the luckier I get”

If you could be anyone else for the day, who would it be? 

Daniel Day Lewis

What are the nicest/weirdest things you have ever received from fans?

Someone once gave me a beautiful crystal wand that had been made in New Zealand

Can you tell us what you will be up to next?

The rest of the tour of 12 Angry Men.  It’s a great group of actors and I’m really enjoying it.  And then hopefully there will be another show for me to star in