AMERICAN BUFFALO REVIEW

THE KINGS ARMS THEATRE, SALFORD – UNTIL 24TH MARCH 2024

REVIEWED BY MIA BOWEN

4****

I’ve visited many fascinating and stunning theatre venues and seen some wonderful productions over the years, but last night I had a pleasantly unique experience at The King’s Arms. Upstairs in this quaint pub, there is a quirky little theatre and music venue that has been recently refurbished and redesigned. Despite being small, the venue feels spacious due to its impressively high ceiling, which helps to create an intimate and welcoming ambiance. The Kings Arms has also been used as a filming location, featuring in TV productions such as Cracker and Fresh Meat.

The audience, of about 35 people, sit on various chairs and stools around the outer edges of the room. This theatre-in-the-round setup allows for a more intimate connection with the stage and ensures that everyone is close enough to hear the actors clearly as they deliver the characters’ elaborate dialogue. Additionally, it enables the audience members to have a direct view of one another.

Rising Moon is working together with David Thacker, the former Artistic Director of The Bolton Octagon, to bring a revival of “American Buffalo” to the stage. This classic play by David Mamet had its premiere in a showcase production in Chicago in 1975 and opened on Broadway in 1977. A writer for the stage and screen and later a director, Mamet’s work is nothing if not distinct. His works are famous for their clever, concise, sometimes vulgar dialogue and intricate stylised wording. He is also known for his examination of masculinity.

American Buffalo is based in a junk shop in Midwest America and follows three small-time crooks, seeking a slice of the American dream. These men are supposed to be working together on a coin heist, but none of them has a clue about what they’re doing, let alone what the others are up to. This creates ample space for bluster, paranoia, fake expertise, and the playwright’s distinctive fast-paced dialogue.

In this revival, the characters Don, played by Colin Connor (Girl From The North Country, UK tour), Teach, played by Dave MacCreedy (The Full Monty, UK tour), and Bob, played by John O’Neill (Coronation Street, ITV), stand out. Their confident movements on stage and precise delivery of dialogue create a captivating performance. I was mesmerised by their skilful acting and amazed the power of live theatre!

ATG New Wimbledon Theatre Press Release Alexandra Burke to lead cast of Jack and the Beanstalk

ALEXANDRA BURKE TO LEAD THE CAST OF JACK
AND THE BEANSTALK AT NEW WIMBLEDON
THEATRE

Fe-fi-fo-fum, a GIANT panto full of fun!

New Wimbledon Theatre and Crossroads Pantomimes, the World’s biggest pantomime
producer, have today [Friday 15th March] announced that Alexandra Burke will lead the
cast of this year’s GIGANTIC pantomime adventure, Jack and the Beanstalk, as Mrs
Blunderbore.

Alexandra Burke is truly one of the UK’s most distinguishable powerhouse voices, having
sold over 5 million records. Her #1 chart-toppers include Bad Boys, Start Without You and
Hallelujah. Her double platinum debut album Overcome has sold over 850,000 copies in
the UK alone.

Alexandra has established herself as one of the UK’s most sought-after West End leading
ladies having starred in The Bodyguard, Sister Act, Chess, Chicago and Michael
Harrison’s production of Joseph and the Amazing Technicolour Dreamcoat at The
London Palladium.

The multi-platinum recording artist and actress first rose to fame 15 years ago, winning
the fifth series of The X Factor while duetting with Beyonce. Alexandra received a BIFA
nomination for her debut movie role in Pretty Red Dress last year and is currently filming
for a brand-new Paramount+ crime-drama series Curfew.

Alexandra made her pantomime debut in 2021 at Manchester Opera House playing the
role of The Spirit of the Ring in Aladdin.

Chief Executive of Crossroads Pantomimes, Michael Harrison said:
“I’m absolutely delighted that Alexandra Burke will be starring in our New Wimbledon
Theatre panto this Christmas. Alexandra is a brilliant leading lady with a sensational
voice, and having worked with her in pantomime before I know just what a brilliant time
our Wimbledon audiences will have at Jack and The Beanstalk this Christmas.’

Theatre Director of New Wimbledon Theatre, William Light added:
“We are thrilled to be announcing the incredibly talented Alexandra Burke for this year’s
Pantomime Jack and the Beanstalk! Alexandra’s captivating voice and undeniable
stage presence are a perfect fit. Panto is all about creating a magical experience for
families, and with Alexandra on board, we know audiences are in for a treat. We can’t
wait to see her win over the Wimbledon crowd this festive season!”

Further casting will be announced later in the year.

Follow Jack, and climb a beanstalk of gigantic proportions to cloudland in the
spectacular family pantomime Jack and the Beanstalk. Doomed to sell his trust cow, join
Jack and his family as they fight to outwit the evil giant, win riches beyond their wildest
dreams and the hand of the girl he loves.

Expect laughs, music, special effects, magic beans and bundles of audience
participation in this GIANT of a pantomime!

Jack and the Beanstalk runs at New Wimbledon Theatre from Saturday 7th December
2024 – Sunday 5th January 2025. Tickets prices start from £13 and are on sale now.

WENDY & PETER PAN – A WATERMILL YOUTH ENSEMBLE PRODUCTION 23 – 30 MARCH

WENDY & PETER PAN

A WATERMILL YOUTH ENSEMBLE PRODUCTION

23 – 30 MARCH

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

Joint CEOs Artistic Director Paul Hart andExecutive Director Claire Murray, and the whole team at Newbury’s The Watermill Theatre are thrilled to announce details of Wendy & Peter Pan, the Watermill’s Youth Ensemble Production that will play Saturday 23 – Saturday 30 March.

Adapted by Ella Hickson from the novel by J.M. Barrie, the show will see over 50 of the theatre’s weekly Youth Theatre participants aged 12 – 19 take part in this production, which includes storytelling, puppetry, physical theatre and stage combat. Two casts – who will perform in 4 shows each – have been rehearsing for over four months, alongside a professional creative team. The show is fully relaxed with BSL integrated performances and close captioning and audio description available too, so the participants have also been learning about creating accessible performances.

When the Darling family’s world is rocked, a window opens into a world of opportunities and adventure that may help Wendy find the answers she seeks. Taking a leap of faith, Wendy and her brothers follow Peter Pan to Neverland, where they discover the extraordinary home of the Lost Boys.

Amongst the fun and hijinks, Wendy embarks on a quest to find one more lost boy, her brother Tom. With the help of the fearless Tiger Lily and spirited Tink, Wendy finds the courage to follow her own path, discovering her true self and that, sometimes, where one story ends, another adventure begins.

The company are supported by a creative team consisting of Angharad Arnott Philips and Heidi Bird as co-directors, with Alfie Heywood as costume and set designer, Matty Green as sound designer and associate director, Brett Kasza as lighting designer, Emily Boyd as fight director, Allan Hutson as movement director, Scarlet Wilderink as puppetry director, and Josette Shipp as DSM.

Co-directors Angharad and Heidi said, “This production presents themes that resonate with our casts, giving opportunities to challenge and discuss. We’ve explored traditional gender stereotypes, responsibilities of young carers, mental health, and the unconditional love of family, whatever shape it takes, represented through strong, complex characters who steer us from 1908 where the play starts, to themes of the modern day. Much like the characters in Wendy & Peter Pan our incredible casts have approached this process with strength, enthusiasm, and huge amount of playfulness. They’ve attacked stage combat skills, delved into the magical world of puppetry, and devised their own dynamic movement sequences.

We hope you enjoy the adventurous journey they will take you on, as much as we have all enjoyed the adventure of making it!”

Josh and George, two of the Youth Ensemble participants who are sharing the role of ‘Peter Pan’, said, “Embarking on the role of Peter in the production of Wendy & Peter Pan has been an extraordinary experience for both of us. It’s amazing to work with so many brilliant inspiring creatives who are so supportive and kind during rehearsals. Coming to the watermill theatre multiple times a week may sound like a lot but it’s such a joy and privilege to be part of an amazing team of young people.

We’ve learnt so many amazing and valuable skills, but both of our favourite skill we’ve developed has definitely been stage combat. As Peter, we get to participate in many dynamic fight sequences which has really pushed our coordination and trust in our cast mates. We would give you more details, but we don’t want to spoil it!”

More information on the Youth Ensemble and opportunities for Young People 0 – 25 years can be found here, and the new Youth Theatre term will be on sale from Saturday 23 March. 

Polly (The Heartbreak Opera) radically adapts John Gay’s banned sequel to The Beggar’s Opera

Sharp Teeth Theatre and Marie Hamilton present
Polly (The Heartbreak Opera) – a riotous and radical adaptation
of John Gay’s banned sequel to The Beggar’s Opera
Friday 12th April – Monday 27th May 2024

A collaboration between Marie Hamilton and Sharp Teeth Theatre, Polly (The Heartbreak Opera) brings a gritty and wild energy to John Gay’s scandalous follow up to The Beggar’s Opera, with original music inspired by Peaches, Britney and Nina Simone. This fierce adaptation renews Polly, Gay’s near forgotten gender-bending, anti-colonialist and proto-feminist ballad opera, originally written in 1729 but banned for the outrage it sparked.

Now in the 21st Century, Polly’s arguments about gender, colonialism and women’s rights rage on. Polly (The Heartbreak Opera) hilariously rips the text apart, re-writing Gay’s original satire to reflect the all too similar societal inequalities of the present day. Devised by the company and directed by Stephanie Kempson (Fringe First award winner, Breathless; director, The Good The Bad and The Coyote Ugly), this show brings new life to the 18th Century rom-com, with techno, tracksuits and palm trees.

In a tacky beach resort on a storm hit island we meet jilted brides, drag king politicians, a pregnant murderess, and a pirate boyband called Blazin’ Squid. Telling not just the story of Purest Polly Peachum but of the other wives of Mack the Knife as well, it is a joyous battle cry and unashamed expression of female rage, of love, loss, and revenge.

This viciously satirical, unashamedly sexy and very funny musical features 18 original songs. The score is brought together by Cameron Macintosh award-winner Ben Osborn, Madeline Shann and Ellie Showering (Breach Theatre).

Co-writer and performer Marie Hamilton comments, Our Polly is wild, riotous and empowering. It’s a dark and absolutely hilarious night out. We started making this show in Berlin 5 years ago, with a big tour that was unfortunately booked for March, April, May and June of 2020… well we all know what happened then! Post-pandemic, with the war-on-woke raging and domestic violence against women spiking the situation has only got graver. In the intervening time trying to get the play back up and running we’ve had company births, marriages, I have a one-year-old and I’ll be 7 months pregnant which will certainly add to the drama… Will there be a birth onstage… who knows!? Luckily one of my characters (Lucy Lockitt) is pregnant in the play so we’ll save some costume budget. Another character I play is Macheath: Mack the Knife- the father of Lucy’s child. Not sure this classic literary lothario has ever been played pregnant with his own child but we’ll put a snail trail up the bump and it will just make it even more punk. It’s been a long time coming, and we’re so ready to bring this brave and beautiful show back out, our joyous retaliation to all the right-wing rhetoric around: a dirty, angry, and most importantly, very funny call to arms.

Following a sold-out work-in-progress run, Polly (The Heartbreak Opera) is set to inspire and empower new audiences across the UK. The show was also finalists for both the LET and Untapped Awards.

Previous praise for Polly (The Heartbreak Opera):

Horror amid the hilarity: Marie Hamilton and Stephanie Kempson’s musical John Gay adaptation hits all the right notes… Overwhelming fun – Exeunt

A triumphant melding of satire, stagecraft, and more than a hint of the sinister… laugh- a-minute stuff of the highest order… Theatre needs ingenuity like this. – The Greenwich Visitor

A multimedia political spin on Julius Caesar comes to Southwark Playhouse | Julius Caesar, 6 Sept – 5 Oct

Lazarus Theatre Company bring the inner
workings of politics to the stage in
Julius Caesar
Friday 6th September – Saturday 5th October 2024
Southwark Playhouse Borough, 77-85 Newington Causeway, London SE1 6BD

Lazarus Theatre Company will return to Southwark Playhouse Borough with a glimpse into the behind the scenes of government politics in a multimedia reinterpretation of Shakespeare’s Julius Caesar. Set within a government spin room, this uncanny insight into the inner workings of politics and media engages with what we are fed and how we consume news. In what is set to be a hotly contested electoral year in the UK, US and across Europe, Julius Caesar’s investigation into what we can trust in the media and through our screens presents a crucial look at the current landscape of media, AI and public opinion.

Celebrated as a God amongst men, Caesar has returned to Rome in triumph after a bloody civil war. However, at the height of his viral victory and extraordinary rise in popularity, a festering horror grows in those who fear that too much power held by one man is a threat to the Republic and democracy itself. Through a campaign spearheaded by Cassius and Brutus, a spiralling plot to see the tyrannical politician removed escalates, and sees their bloody actions lead to all-out war

A striking reimagining, which exposes the plots and betrayal at the forefront of the classic story, this political thriller will use an innovative blend of technology and staging to present both sides of the political coin. Expect dramatic and striking theatrics as Lazarus’s ensemble present a raucous and bloody production that sees The Thick of It meets West Wing.

Director Ricky Dukes comments, Perhaps Shakespeare’s most recognised political play, Julius Caesar, presents a fantastic opportunity for us to examine leadership, politicians, and media, in the height of this pivotal time – 2024 is not just an election year. It’s perhaps the election year

Globally, in 2024, more voters than ever in history will head to the ballet box as at least 64 countries (plus the European Union), representing a combined population of about 49% of the people in the world, are due to hold national elections (Koh Ewe, Time Magazine).

At the heart of this play is a tension between the public and political leaders. In this new contemporary, multimedia production (a Lazarus first!) we will examine that tension and delve into the ways in which we, the public, receive, engage with, and understand news and the world around us via mainstream media, social media and AI created content. Can we really trust what we see on our screens?

The cast of Julius Caesar will be announced soon.

Previous praise for Lazarus Theatre Company:

Lazarus Theatre’s track record in reimagining classic plays is second to none, ★★★★ – Fairy Powered Production, The Changeling

Packs a punch…Vibrant and exciting, ★★★★★ – North West End UK, Hamlet

Visceral, brutal and horrifically messy… An exceptional, must-see production, ★★★★★ – Views from the Gods, Edward II

The whole work is a shocking, beautifully visual feast…Dark, brooding work of art, ★★★★★ – Theatre Reviews Hub, Salomé

The Wizard of Oz Review 

 New Wimbledon Theatre- until Saturday 16th March 2024 

Reviewed by Brooke Burlinge 

5***** 

Wimbledon Theatre brings you the classic and most definitely loved The Wizard of Oz. What can I say except that it started off with a bang- quite literally!  

The show began with setting the scene with a screen, showing us all rural Kansas and introducing us to Dorothy (Aviva Tulley) and her delightful dog Toto (Abigail Matthews), which was just the start of a truly spectacular performance. 

Throughout the whole production, I was captivated and engrossed in the fantastical atmosphere, which I’m sure was the case for the rest of the audience. You could clearly tell that the whole of the cast had worked extremely hard to make this performance as memorable and remarkable as it was. 

Aviva Tulley portrayed Dorothy beautifully, her vocals sounded light and soft yet powerful at the same time, the perfect combination for an alluring voice. I found ‘over the rainbow’ especially beguiling, even getting goose bumps when I heard her singing the song. Alongside Dorothy, Toto was a delight to watch due to Abigail Matthews’ brilliant puppeteering. Now what I can I say about The Wicked Witch of The West (The Vivienne) apart from the fact that she was unprecedented and positively enticing to watch. Her acting skills allowed the audience to be fully immersed throughout, always having a commanding and compelling presence on stage. Onto the terrific trio, The Scarecrow (Benjamin Yates), The Tin Man (Marley Fenton) and The Cowardly Lion (Nic Greenshields) who were all amazingly entertaining from the get-go. With the Scarecrow’s vivacious, energetic personality keeping up with the pace and the atmosphere of the production the entire time, having everyone engaged and excited from the moment we met him. I think it’s safe to say that the Tin Man won our hearts while trying to find his own. He was a caring and compassionate character, always showing his loyalty by sticking beside Dorothy. The Cowardly Lion brought comedic relief in some of the more tense scenes, making us all laugh and keeping us amused with his demeanour and characteristics. Both Glinda (Emily Bull) and The Wizard (Gary Wilmot) added onto the magical aspect of the show, the pair of them giving us a fabulous performance. Everyone in the ensemble stood out in their own phenomenal way, bringing a certain wondrous charm to the stage, you could really tell how dedicated they all were. 

I think that the stage and set design was both intriguing and fit perfectly for the slightly wacky and outlandish ambience of the show. Not to mention the wonderful costume design, capturing the essence of each character perfectly. Every single one of the songs brought a giant smile to my face further proving how prodigious, enthralling, and unparalleled the entirety of the performance legitimately was. 

This, without a doubt, is a show to watch. So much so that I could watch it multiple times and still not be bored. What an enchanting, spell-binding production! 

Life of Pi Review

Curve Theatre – until Saturday 17th March 2024

Reviewed by Amarjeet Singh

5*****

Credit: Johan Persson/

Life of Pi is a feast for the eyes and soul. A sumptuous smorgasbord of sound, sights, and immersive delights, it’s a theatrical triumph which must be seen to be believed. An epic storm destroys a Japanese cargo ship on its way to Canada. Among its passengers were Pi, his family, and the animals Pi’s zookeeper father tended to. Their journey began in Pondicherry, India. The move was due to economic instability. Almost everyone drowned during the storm, except Pi, who is left stranded in the Pacific Ocean, on a lifeboat with four other survivors: a hyena, a zebra, an orangutan, and a Royal Bengal tiger, named Richard Parker. The tale opens in Mexico in 1978, in a hospital room. Pi was washed up in a fishing village after 227 days lost at sea. Confused and traumatised, he recounts his experiences in a way the authorities find hard to comprehend, but is everything as it seems?

Lolita Chakrabarti transports Martel’s story to the stage with the intention of it being playful and theatrically rich, and she achieves this with aplomb. While the dialogue lacks some of Martel’s sublime and stirring language, the production more than makes up for it with its dazzling visuals. Director Max Webster’s magnificence, Tim Hatley’s versatile set, Tim Lutkin’s atmospheric lighting, Andrzej Goulding’s stunning video and Nick Barnes and Finn Caldwell’s incredible puppets, blend imagination and artistic genius to give Life of Pi an ethereal and otherworldly quality. Every element combines to create seamlessly interchangeable moments in time, as well as countries, land, ocean, and ultimately merges reality with fantasy as we journey with Pi through his life changing experience. We are plunged into moments of joy, harrowing loss, terror, and utter strength. Within moments a hospital room has transformed into a zoo, blink, and it’s an Indian bazaar, seconds later it’s a vast ship and then you would swear blind it’s raining as you witness a storm. A boat appears from nowhere but it’s now a hospital bed…and there is a tiger, a mysterious, magnificent, majestic tiger… or is there?

The puppets are the heart and soul of the show. Wonderous beasts whose every breath and movements are so meticulously choreographed, you would testify you are watching an orangutan with its baby, a shoal of fish swimming in the ocean, a flutter of butterflies, a rumbunctious goat and again, that stunning, beautiful, ferocious tiger. The show’s cast and crew conjured a dynamic and powerful tale, taking on multiple roles they brought Life of Pi to life. Its mind blowing to think this is Divesh Subaskaran’s professional debut. Immensely talented, he takes on the role of the philosophically inclined Pi with ease. He is arresting, delightful, athletic, and charmingly funny. He balanced the many stages of Pi perfectly, enabling us to believe the character has endured a whole gambit of emotions and experiences over the course of the performance. Hypnotic, I was engaged by him, and his love hate relationship with Richard Parker.

Lolita Chakrabarti included more female characters to the production which was not a part of the original novel. This added a wonderful dimension and depth to the production. Bhawna Bhawsar was fabulous and entertaining as Lulu Chen/Mrs Biology Kumar, Goldy Notay was wonderful as Amma. Keshini Misha was a great balance to Pi as his sister Rani. Lilian Tsang was brilliant as Mrs Okamoto/Ships Captain, navigating the stage with ease. Ralph Birtwell as Father, Antony Antunes as Cook/Father Martin, Chand Martinez as Mama-Ji/Admiral Balbir Singh and Vinesh Veerasami as the Russian Sailor all gave incredible performances which added energy and spirit to the production. Sebastian Goffin, Akash Heer, Romina Hytten, Katie Kennedy-Rose and Kate Rosewell deserved the thunderous applause as the head, heart, and hind of Richard Parker the Tiger. Undulating, his meticulous movements, from a flick of the tail to a lick of the paw were mesmerising. Without this incredible skill and effort, I’m not sure what the play Life of Pi would be? For Richard Parker, along with Pi, is the head, heart and hind of the tale. I was spellbound from the moment he stalked on stage.

Life of Pi is bewitching in every sense, from its sounds, colours and its dance like movement. A thought provoking and touching production there is always something to ponder and consider. You are presented with the most fascinating detail, how you choose to interpret it is up to you. From the moment the show begins, it’s all there for you. Allow yourself to be captivated and transported through this voyage in all its meaning. Life of Pi is a spectacular work of living, breathing theatre, a blend of magical realism that will leave you speechless for all the right reasons, and I will once again say, it really does need to be seen to be believed.

TV COMEDY ROYALTY VICKI PEPPERDINE, KIELL SMITH-BYNOE AND DAN SKINNER TO STAR IN THE GOVERNMENT INSPECTOR AT MARYLEBONE THEATRE 3 MAY – 15 JUNE

TV COMEDY ROYALTY VICKI PEPPERDINE, KIELL SMITH-BYNOE AND DAN SKINNER TO STAR IN A BRAND-NEW PRODUCTION OF GOGOL’S SATIRICAL MASTERPIECE

OPENING AT THE MARYLEBONE THEATRE

3 MAY – 15 JUNE 2024

 TICKETS ON SALE NOW HERE

TV comedy royalty Vicki Pepperdine (Poor ThingsGetting OnDear Joan and Jericha) will star alongside Kiell Smith-Bynoe (Ghosts, Stath Lets Flats, Taskmaster, Man Like Mobeen) and Dan Skinner (Shooting StarsThis Time with Alan PartridgeThe Kennedys) in a brand-new production of Nikolai Gogol’s satirical masterpiece, THE GOVERNMENT INSPECTOR, premiering at the Marylebone Theatre from 3 May – 15 June 2024, with a press night on Wednesday 8 May.

“There’s no money in honesty!”
A comedy about hypocrites, hysterics and hustlers.

This hilarious new adaptation sets the action in a small parochial town in late 19th century Britain, where the corrupt local officials mistake an over-privileged, vainglorious liar, who just happens to be passing through the town, for a high-ranking government inspector. Desperate to cover up their crimes and escape censure, the town’s Governor and his cronies pull out all the stops to try and bribe this dishonest buffoon with money, wine and women.

The Government Inspector has cemented its reputation as one of the greatest comedies in world literature and ensured that wherever a corrupt and hypocritical government is in power, this play finds its way to a stage.

Vicki Pepperdine (‘Mrs Swashprattle’) is an accomplished comedy actress and writer, most recently seen in the Bafta and Oscar winning film Poor Things, directed by Yorgos Lanthimos, in which she plays ‘Mrs Prim’. She also appeared in Magic Mike’s Last Dance directed by Steven Soderbergh and has just completed filming on a new feature, Savage House, alongside Richard E Grant and Claire Foy.

Pepperdine has made an indelible mark in British comedy with three series of her multi award winning series ‘Getting On’, which she wrote and co-starred in as Dr Pippa Moore – and then went on to exec produce for the successful US adaptation, reprising her UK role in one episode ‘Am I Still Me?’. She has appeared in numerous hit TV comedy shows – Mid Morning Matters with Alan PartridgeDoc Martin, Miranda, Still Open All Hours, Rev, Cuckoo, Twenty Twelve, Camping, The Windsors and Bad Education, to name but a few.

Vicki has also appeared in television dramas, playing ‘Mrs Michelson’ in the BBC series of The Woman In White, ‘Gerdi Lange’ in A Small Light for Disney Plus and ‘DSI Susan Smart’ in two series of We Hunt Together for Showtime.

On stage she played ‘Mrs. Candour’ in School for Scandal at the Barbican Theatre, is a regular panellist on Radio 4’s I’m Sorry I Haven’t A Clue and co-hosts the award-winning cult podcast Dear Joan and Jericha.

Actor and writer Kiell Smith-Bynoe (‘Percy Fopdoodle’) is best known for his role as Mike – Alison’s non-spirit-seeing husband – in the BAFTA-nominated sitcom Ghosts (BBC). And for playing no-nonsense estate agent Dean in BAFTA-winning comedy Stath Lets Flats (Ch4). His further acting credits include drama Death in Paradise (BBC) and the comedies Dreamland (Sky), A Whole Lifetime with Jamie Demetriou (Netflix), Man Like Mobeen (BBC), The Curse and The Horne Section (Ch4).

 At last year’s Edinburgh Fringe, he co-wrote and co-starred in the musical comedy String V SPITTA and had his own late-night improv show Kool Story Bro which has since gone on to sell out multiple London runs.  A contestant in last year’s 15th series of Taskmaster, he also co-hosted the prestigious British Independent Film Awards last December. After competing in the 2021 Christmas special of The Great British Sewing Bee, he steps in for Sara Pascoe as the new host for Series 10.

Actor-comedian Dan Skinner (‘Governor Swashprattle’) is best known for his alias Angelos Epithemiou, whom he first debuted as a permanent member Shooting Stars (BBC), before taking him on a series of British comedy panel shows and his own TV special that earned Dan a Comedy Award for Best Newcomer.

Recent TV credits include the lead in the critically acclaimed Notes On Blindness, nominated for three BAFTAs including Best British Film, The Kennedys (BBC) opposite Katherine Parkinson and House of Fools with Vic Reeves and Bob Mortimer, The Hunt For Raoul Moat (ITV). Future credits include Series 2 of Beyond Paradise (BBC). Further TV credits include Live At The Moth Club (Dave), The Witchfinder, This Time With Alan Partridge and Eastenders (BBC), Sex Education and The Crown S3 (Netflix). He has also earned starring roles in independent and cult-classics feature films including Prevenge, Swallows And Amazons and High-Rise. Dan’s recent stage credits include the lead role of ‘Dinny’ in The Walworth Farce by Enda Walsh at the Southwark Playhouse Elephant.

Nikolai Gogol’s The Government Inspector premiered in 1836, in the presence of Tsar Nicholas I, whose enjoyment of the play undoubtedly saved it from the appalled censors, furious at this brazen satire of the country’s corrupt bureaucracy at all levels of government. The Tsar is said to have remarked, “We’ve all taken a bop on the nose from this writer. Me most of all!”

Apparently inspired by a real encounter when the writer Alexander Pushkin was mistaken for a government official in a provincial town and then told his friend Gogol all about it, the play is a landmark in theatrical history for its lack of ethical characters, fearless attack on the ruling classes and groundbreaking cocktail of farce and realism.

The Government Inspector is adapted and directed by Patrick Myles, with set and costume design by Melanie Jane Brookes, lighting design by Ric Mountjoy, sound design by Jamie Lu, production management by Alex Firth and casting consultancy by Matilda James.

Further casting and creative team will be announced shortly.

The Boy at the Back of the Class Review

Cambridge Arts Theatre, Cambridge – until Saturday 16th March 2024

Reviewed by Steph Lott

5*****

The goals of O’s Refugee Aid Team (ORAT) in the UK are simple. To raise awareness, funds, and goods for supported frontline teams, to lobby the UK government to safeguard every human being’s right to safe passage and sanctuary, and to mobilise communities of all backgrounds to help refugees however they can. Founded by Ojali Q Rauf, following the tragic death by drowning at sea of two-year-old Alan Kurdi, along with his brother and mother, ORAT surpassed itself in achieving those goals last night, judging by the impact of the performance of “The Boy at the Back of the Class” on the young audience. I have no doubt that this performance will have since been discussed at length and with passion by all those who witnessed it.

Onjali Q. Rauf’s acclaimed novel has been transformed into a captivating and thought-provoking stage production by the Children’s Touring Partnership. Nick Ahad’s adaptation and Monique Touko’s direction have brought to life a poignant story that tackles complex themes of displacement, prejudice, and the power of empathy and friendship.

The play revolves around the arrival of a new student, Ahmet (played with remarkable depth by Farshid Rokey), a refugee from Syria, in a London classroom. His silence and mysterious demeanour initially leave his classmates puzzled and wary. However, the inquisitive and compassionate Alexa (portrayed with infectious energy by Sasha Desouza-Willcock) takes it upon herself to unravel Ahmet’s story and help him assimilate into his new environment.

Rokey’s understated yet emotionally charged performance is a standout, conveying the trauma and resilience of a child forced to flee his homeland. His interactions with Desouza-Willcock’s Alexa are both heart-warming and heart-breaking, as they navigate the complexities of cultural differences and the weight of Ahmet’s experiences.

The ensemble cast, comprising young actors playing Alexa’s classmates, delivers impressive performances that capture the nuances of childhood curiosity, prejudice, and eventual understanding. Their individual arcs are well-defined, and their collective transformation from indifference to empathy is both organic and inspiring.

The minimalist yet ingenious set design, complemented by effective lighting and sound effects, allows the narrative to take centre stage. The use of multimedia elements, including projected animations and evocative soundscapes, enhances the immersive experience, transporting the audience between the classroom and Ahmet’s haunting memories of war-torn Syria.

While the subject matter is undoubtedly heavy, the production strikes a delicate balance between seriousness and moments of levity, ensuring that the message is accessible to its young audience without compromising its emotional depth.

The Boy at the Back of the Class” is a poignant and timely reminder of the power of compassion and understanding in a world where displacement and prejudice are all too prevalent. It is a must-see production that not only entertains but also challenges its audience to confront their biases and embrace the richness of diversity.

Full companies announced for The Other Boleyn Girl and The House Party at Chichester Festival Theatre

Full companies confirmed for the opening shows of Chichester’s Festival 2024

The full casts have been announced for the opening productions of Chichester’s Festival 2024, The Other Boleyn Girl and The House Party.

The Other Boleyn Girl by Mike Poulton, based on Philippa Gregory’s internationally best-selling novel, has its world premiere in the Festival Theatre, running from 19 April – 11 May (press night: 26 April).This racy and riveting drama of events at the Tudor court, seen though the eyes of women at the heart of changing history, is directed by Lucy Bailey.

The full company is: James Atherton (Sanditon, Hollyoaks) as Henry VIII, Osa Audu (recent RADA graduate) as Harry Percy, Oscar Batterham (Noises Off, Richard III) as William Stafford, James Corrigan (Jack Absolute Flies Again NT, This England) as George Boleyn, Jacob Ifan (Cuffs, A Discovery of Witches) as William Carey, Kemi-Bo Jacobs (The Ocean at the End of the Lane NT/West End, The Winter’s Tale RSC) as Queen Katherine, Ben Jones (Doctors, Murder in Provence) as Thomas Boleyn, Alex Kingston (Doctor Who, The Tempest RSC) as Lady Elizabeth, Rosalind Lailey (Twelfth Night, The Railway Children) as Jane Seymour, Nitai Levi (Rent, The Band’s Visit) as Mark Smeaton, Peter Losasso (Mrs Warren’s Profession, Twelfth Night) as Francis Weston, Freya Mavor (Industry, Skins) as Anne Boleyn, Lily Nichol (Imperium RSC, Maternal) as Jane Parker, Lucy Phelps (Much Ado About Nothing Shakespeare’s Globe, Measure for Measure RSC) as Mary Boleyn, Roger Ringrose (Witness for the Prosecution, Stan & Ollie) as Wolsey/Cromwell and Andrew Woodall (South Downs/The Browning Version, Fracked! CFT) as the Duke of Norfolk; with Chris Green (musician and musical director) and Sarah Harrison (musician).

In Laura Lomas’The House Party, which spins Strindberg’s Miss Julie into intense, fizzing life for today’s generation, Josh Finan will play Jon. BAFTA nominated as Best Supporting Actor for his role in the BBC’s The Responder, he previously appeared in The Southbury Child at CFT and The Bridge and is currently appearing in Netflix’s The Gentlemen.

He joins the previously announced Rachelle Diedericks, whose work includes Our Generation at the National Theatre and Chichester, The Crucible at the NT and A View from the Bridge (Headlong/CFT) as Christine; and Nadia Parkes whose many TV appearances include the forthcoming Kidnapped, The Bastard Son & The Devil Himself and The Spanish Princess as Julie. Running in the Minerva Theatre from 3 May – 1 June (press night: 10 May), this co-production with Headlong in association with Frantic Assembly is directed by Holly Race Roughan.

The company also includes an ensemble of young actors: Amaia Naima Aguinaga, Oliver Baines, Cal Connor, Micah Corbin-Powell, Lyla Garner-Gibbons, Jaheem Pinder, Jamie Randall, Charlotte Stubbs, Priya Uddin, Grace Watkins; and two child actors, Nicole Arthur and Layla Owens.

Tickets from £10

cft.org.uk       Box Office 01243 781312      

Prologue: £5 tickets for 16 – 30s

9,000 £5 tickets are available for 16 to 30 year-olds across all Festival 2024 productions; sign up for free at cft.org.uk/prologue.