Home

Southwark Playhouse, London – until 30 March 2024

Reviewed by Chelsea Kania

5*****

An excellent show

As print journalism plummets and anxieties of a digital revolution loom, the ugly true colours of ‘90’s era business people are laid bare in London Zoo. Yet in 2024, it’s all too familiar.

This behind-the-scenes corporate satire dips into the perspective of senior newspaper exec Arabella, played by Natalie Lauren (Close to Me), to wittily and critically explore the birth of the modern workplace under pressure—and the prejudices exposed with it. Writer and director Farine Clarke draws from a well of personal insight, namely her early career as a doctor, time in publishing, and board roles in public and private sectors; it’s clearly a deep well.

Set in a time before the term “unconscious bias” was as common as clickbait, the characters in London Zoo are confidently—thus disturbingly—innocent in their judgements and deceits. “It’s about people,” Clarke says, “how they feel, interact and at times manipulate to get their way […] we all harbour our own subtle prejudices which we need to expose and discuss.”

The production is advised by film, theatre and television actress, Linda Marlowe (EastEnders), and the cast includes Harris Vaughan (The Nevers) as Christian, Simon Furness (Wednesday) as Charles, Odimegwu Okoye as Kelvin, Anirban Roy as Sunil, and Dan Saski as Alex.

London Zoo is serious business but Clarke serves her points with sharp humour. Another highlight is Lauren’s whip smart Arabella, the token female hire whose observations would be considered “woke” by today’s standards. But with none of the 21st century freedom to express them, her murmured sarcasm and professional restraint are as painful as they are relatable. And I mean that literally; as a former token female executive myself, I found her performance pretty PTSD-inducing. I also felt seen.

The play culminates with a dark twist befitting of good satire, although it peaks so abruptly that I didn’t get to stew in it for as long as I’d have liked. But in general, Clarke’s nuanced writing is a real triumph.

“There’s no point in doing this on a soapbox,” she says. “Far better to use comedy to help us laugh at ourselves while still questioning if we can change for the better.”

As the show ends and my mind drifts to hysteria over AI, machine learning and fluctuating globalisation, I’m left wondering: with ample pressure cookers ahead, which human prejudices are yet to surface—and will the current ones ever really have a chance to leave us? Whatever the future, I hope Clarke is around to help us face ourselves.

NEW REHEARSAL

PHOTOS RELEASED FOR

WEST END PREMIERE OF

MIND-BENDING NEW COMEDY

STARRING MISCHIEF’S

HENRY LEWIS & JONATHAN SAYER

THE APOLLO THEATRE

Thursday 14 March – Sunday 28 April 2024

GALA PERFORMANCE ON SUNDAY 24 MARCH, 5pm

2024 MARKS THE 10^TH ANNIVERSARY OF

MISCHIEF’S GLOBAL HIT SHOW

THE PLAY THAT GOES WRONG

IN THE WEST END

www.mindmangler.com

@TheMindMangler @MischiefComedy

Brand new rehearsal photographs of Mind Mangler: Member of the Magic Circle which begins previews this week were released today (11 March 2024).  

Henry Lewis and Jonathan Sayer, creators of the global smash hit The Play that Goes Wrong and the BBC’s The Goes Wrong Show, will star in Mischief’s riotous new comedy Mind Mangler: Member of the Tragic Circle in the West End.  Mind Mangler: Member of the Tragic Circle will play at the Apollo Theatre, Shaftesbury Avenue from Thursday 14 March to Sunday 28 April 2024, with a Gala Performance on Sunday 24 March 2024 at 5pm.

Written by Henry Lewis, Jonathan Sayer and Henry Shields, Mind Mangler is based on a character originally created in Magic Goes Wrong by Penn Jillette, Henry Lewis, Jonathan Sayer, Henry Shields & Teller.

Join ‘The Mind Mangler’ as he attempts a spectacular return to his West End debut two man solo show.   Witness hilarious feats of mentalism spiral into chaos as he attempts to read your mind, mind mind….

Mind Mangler: Member of the Tragic Circle is directed by Hannah Sharkey, with set design by Sara Perks, costume design by Roberto Surace, lighting design by David Howe, sound design by Helen Skiera, video design by Gillian Tan.  The magic consultant is Ben Hart and the composer is Steve Brown.

Mind Mangler began at the Edinburgh Fringe Festival in 2022 and after a sold-out season was later developed into a two-act show that toured the UK and ran in New York in 2023. 

This year, 2024, the extraordinarily successful and Olivier and Tony Award-winning Mischief celebrates 10 years in the West End with their award winning The Play That Goes Wrong – which shows no signs of slowing down since its first performance at The Old Red Lion with only four paying customers.  Its achievements since include:

• Whatsonstage Award for Best New Comedy in 2014
• Olivier Award for Best New Comedy in 2015
• Tony Award for the Broadway Transfer
• Performing to over two million people round the world in every continent except Antarctica.

Mischief’s other West End stage successes include:

• Peter Pan Goes Wrong
• Mischief Movie Night
• A Comedy about a Bank Robbery
• Groan Ups
• Magic Goes Wrong

Further information about Mischief’s The Play that Goes Wrong in the West End 10^th anniversary celebrations will be announced in due course.

Mind Mangler: Member of the Tragic Circle is produced by Kenny Wax, Stage Presence and Kevin McCollum. 

THE PHANTOM OF THE OPERA

AT HIS MAJESTY’S THEATRE

EXTENDS BOOKING UNTIL 29 MARCH 2025

CHUMISA DORNFORD-MAY JOINS AS ALTERNATE

CHRISTINE DAAÉ

FROM 15 MARCH 2024

CHRISTMAS SCHEDULE ALSO ANNOUNCED

Cameron Mackintoshis delighted to announce that Andrew Lloyd Webber’s THE PHANTOM OF THE OPERA at His Majesty’s Theatre has extended its booking until Saturday 29 March 2025. The Christmas performance schedule is also announced.

THE PHANTOM OF THE OPERA currently stars Jon Robyns as The Phantom alongside Lily Kerhoas as Christine Daaé, Joe Griffiths-Brown as Raoul, Kelly Glyptis as Carlotta Giudicell, Matt Harrop as Monsieur Firmin, Adam Linstead as Monsieur André, David Kristopher-Brown as Ubaldo Piangi, Francesca Ellis as Madame Giry and Maiya Hikasa as Meg Giry.

Chumisa Dornford-May joins the company as alternate Christine Daaé from Friday 15 March 2024.

The cast is completed by Hollie Aires, Federica Basile, Corina Clark, Michael Colbourne, Leonard Cook, Colleen Rose Curran, Lily De-La-Haye, Hywel Dowsell, Connor Ewing, Serina Faull, Florence Fowler, James Gant, Eilish Harmon-Beglan, Yukina Hasebe, Samuel Haughton, Thomas Holdsworth, Jacob Hughes, Grace Hume, Janet Mooney, Tim Morgan, Eve Shanu-Wilson, Tim Southgate, Zoë Soleil Vallée, Jasmine Wallis, Victoria Ward, Ralph Watts, Simon Whitaker, and Andrew York.

Chumisa Dornford-May trained at the Mountview Academy of Theatre Arts, graduating in 2023. She was awarded the Elaine Paige Scholarship for Excellence in Musical Theatre. Chumisa made her professional and West End debut understudying and playing Jenny in Aspects of Love at the Lyric Theatre. Chumisa most recently understudied and played Eva Perón in Evita at the Curve Theatre, Leicester. She also played Wednesday Addams in The Addams Family – Musical in Concert at The London Palladium. Workshops include playing Young Bertrande in Martin Guerre at the Old Vic.

THE PHANTOM OF THE OPERA is produced by Cameron Mackintosh and The Really Useful Group Ltd. Music by Andrew Lloyd Webber, Lyrics by Charles Hart, and Additional Lyrics by Richard Stilgoe. Book by Richard Stilgoe and Andrew Lloyd Webber, based on the novel ‘Le Fantôme de l’Opera’ by Gaston Leroux, with Orchestrations by David Cullen and Andrew Lloyd Webber. Musical Supervision is by Simon Lee. The Production Design is by Maria Björnson and the Set Design is adapted by Matt Kinley with Associate Costume Design by Jill Parker, Lighting is by Andrew Bridge with Associate Lighting Design by Warren Letton, Sound is by Mick Potter. The Musical Staging and Choreography is by Gillian Lynne, recreated and adapted by Chrissie Cartwright. Originally Directed by Harold Prince, this production is Directed by Seth Sklar-Heyn.

DUNCAN MACMILLAN’S SMASH HIT PLAY

PEOPLE, PLACES AND THINGS

RETURNS TO THE WEST END

 DENISE GOUGH REPRISES HER OLIVIER

AWARD-WINNING ROLE

FOR A STRICTLY LIMITED 14-WEEK RUN

AT THE TRAFALGAR THEATRE

FROM 3 MAY 2024

The National Theatre, Mark Gordon Pictures, Gavin Kalin Productions, Seaview and Second Half Productions, announces today that the original, smash hit production of People, Places and Things will make a triumphant return to London’s West End, this spring.  Duncan Macmillan’s intoxicating play, directed by the acclaimed, award-winning Jeremy Herrin and originally co-produced by the National Theatre and Headlong, will run at the Trafalgar Theatre from 3 May until 10 August 2024.  Tickets will go on sale to the public, on Friday 15 March at 10am, from £20.

Denise Gough will reprise her Olivier Award-winning role as Emma, a struggling actress whose life is spinning recklessly out of control.  Gough won ‘Best Actress’ at the 2016 Olivier Awards and at the Critics’ Circle Theatre Awards for her ‘career defining performance’ (Evening Standard) in People Places and Things at the National Theatre in 2015.  Critics hailed her performance as ‘extraordinary’ (The Observer), ‘ingenious’ (New York Times) and ‘stunning’ (Time Out).  She went on to win her second Olivier Award (‘Best Actress in a Supporting Role’, 2018) for her performance in Tony Kushner’s Angels in America for which she was nominated for a Tony Award ^® (2018) when the National Theatre production transferred to Broadway.  Gough has also been nominated for a British Academy Television Award (2022) for her performance in Clara Salaman incendiary three-part ITV series Too Close.  More recently she played the role of Dedra Meero in Disney+’s hugely successful Star Wars spin-off series, Andor.

Tony Award®-winner Bunny Christie will recreate her ‘cabinet-of-curiosities’ (New York Times) innovative set design with special on-stage seating bringing an element of intimacy to this vivid and transfixing portrayal of addiction.

Emma was having the time of her life.  Now she’s in rehab.  Her first step is to admit that she has a problem.  But the problem isn’t with Emma, it’s with everything else.  She needs to tell the truth.  But she’s smart enough to know that there’s no such thing.  When intoxication feels like the only way to survive the modern world, how can she ever sober up?

Duncan Macmillan’s critically acclaimed play ‘mixes dark wit, intellectual ambition and emotional intelligence’ (The Times).  Other work includes Every Brilliant Thing (Paines Plough/Pentabus, Edinburgh, UK tour & New York), George Orwell’s 1984 (adapted with Robert Icke, Headlong/Nottingham Playhouse/Almeida/West End), Lungs (Paines Plough & Sheffield Theatres, Washington DC), Don Juan Comes Back From the War (Finborough) and Monster (Royal Exchange, Manchester).

Jeremy Herrin is Co-Director of Second Half Productions.  His ‘endlessly inventive staging’ (New York Times) of People Places and Things was during his tenure as Artistic Director of Headlong (2013-2020).  Recent work includes A Mirror (Trafalgar Theatre/Almeida Theatre); Ulster American (Riverside Studios) and 2022 South Bank Show Award for ‘Best Theatre Production’, Best of Enemies (Young Vic/ West End).  Upcoming work includes, Eugene O’Neill’s Long Day’s Journey Into Night starring Brian Cox.

Actress, Denise Gough, said:

“I am beyond excited and so grateful to be returning to the role of Emma in People, Places and Things. Duncan Macmillan’s incredible play was a life changing experience for me and many others. It brought me pure joy, night after night, to take to the stage to share Emma’s story and I can’t wait to bring her back to new audiences and to give voice, and space, to people that live with or have experienced any form of addiction”

Playwright, Duncan Macmillan, said:

“The debut of People, Places and Things was a really special time.  The play had taken me almost a decade to write and came partly out of a frustration with how addiction is typically portrayed on stage and screen.  Under Jeremy Herrin’s compassionate direction, the company visited treatment centres and worked closely with people in recovery.  We all felt a responsibility to make the play, primarily, for those who know what it is to live with addiction, for them to feel represented and seen.  We did not expect the incredible response the play received when it first opened and its momentum has only increased over the years, not least because of Denise Gough’s now mythic central performance.  She is, for me, the greatest actor of my generation and it is my great fortune that she took the role then and thrilling that she’s returning to it now.”

Director, Jeremy Herrin, said:

“When I was Artistic Director of Headlong, I read Duncan Macmillan’s play, and I knew I had an opportunity to make a production with real power.  With Denise Gough as Emma, it felt like we connected deeply with audiences at the National Theatre, in the West End and in New York.  The show seemed to be stimulating, entertaining and deeply emotional.  I am delighted to reunite with Denise, Duncan and the creative team to share People, Places and Things with new audiences, and I am grateful to all our colleagues and partners who have made it possible.”

People, Places and Things garnered widespread critical acclaim when it had its world premiere at the National Theatre’s Dorfman theatre in September 2015 in a co-production with Headlong.  The production transferred to Wyndham’s Theatre in March 2016 in London’s West End before transferring to St. Ann’s Warehouse in New York in October 2017.   

The creative team includes director, Jeremy Herrin;set designer, Bunny Christie; costume designer, Christina Cunningham;lighting designer, James Farncombe; music, Matthew Herbert;sound designer, Tom Gibbons; video designer, Andrzej Goulding;movement director, Polly Bennett;casting by Jessica Ronane CDG CSA; and original casting by Wendy Spon.  Further casting to be announced. 

Garrick Theatre, London – until 4 May 2024

Reviewed by Claire Roderick

5*****

For Black Boys returns to the West End with a new cast and a huge buzz. Chatting in the bar queue before the show, there were people who had seen the show multiple times during its last run and were on their second visit to this production (it’s been open for a week!). This was my first time seeing the show, and wow, from the moment the curtain lifts, For Black Boys lives up to its hype.

A beautifully choreographed, danced and lit sequence eventually morphs into an initially light-hearted playground scene where childish games reveal new experiences and realisation of being different for one young Black boy. Framed as a group therapy session where the young men feel safe to share their experiences and express their feelings, Ryan Calais Cameron’s exquisite writing explores being a Black man in the UK.

The phenomenal cast (Tobi King Bakare, Shakeel Haakim, Fela Lufadeju, Albert Magashi, Mohammed Mansaray and Posi Morakinyo) have a connection and chemistry that infuse the script with a power and heart that both embraces and astounds the audience. The sheer joy when the group begin singing and lose themselves in their dance routines is palpable. Their ensemble work is pristine and builds a camaraderie that makes the final scene the biggest gut-punch you’ll experience in a theatre. Through a series of monologues and responses that weave around and blend into each other, the cast discuss important topics such as racism, mental health, education, aspiration, relationships, masculinity and queerness. These are no lectures however, with different characters with opposing views and life experiences providing a broader picture of the tensions, pressures and expectations influencing each character’s choice (or lack of choice). There is laugh-out-loud comedy as the young men’s wonderfully authentic mocking and reactions lightens the tone, but writer/director Ryan Calais Cameron also allows the moments of deep despair and sadness weight and time to sink in.

The beautifully judged mix of monologue, spoken word, rap and dance looks and sounds amazing, with the talented team of Anna Reid (designer), Rory Beaton (lighting design), Nicola T. Chang (composer and sound design), Theophilus O. Bailey (movement director and choreographer) and John Pfumojena (musical director and vocal arrangements) creating onstage magic.

For Black Boys is one of the most beautifully realised, important and moving productions you will ever see – theatre at its very best.

Maureen Lipman, Tom Conti and Anne Reid star in a West End rehearsed reading of 
Lettice and Lovage

by Peter Shafferin aid of Alzheimer’s Research UK

Directed by Loveday Ingram

For one night only, Maureen Lipman, Tom Conti and Anne Reid are to head the cast for a rehearsed reading of Peter Shaffer’s critically acclaimed play Lettice and Lovage.

It is being performed in aid of Alzheimer’s Research UK with kind permission by the Sir Peter Shaffer Charitable Foundation. at 5.30pm on Sunday 24 March at the Ambassador’s Theatre, West St, London WC2H 9ND.

Full cast: Maureen Lipman, Tom Conti, Anne Reid, Miranda Hewitt, Cassandra Hodges
Directed by Loveday Ingram. 
Produced by Miranda Hewitt.

Flamboyant tour guide, Lettice Douffet comes up against brusque traditionalist Charlotte Schoen from the Preservation Trust, for theatrically over-embellishing historical facts on her tours of Fustian House. These two eccentric ladies, through a shared desire to preserve the beauty of the past and following dramatic developments in Lettice’s living room, find themselves in a spot of trouble as solicitor, Mr
Bardolph explains. The play was written specifically for Dame Maggie Smith, who originated the title role of Lettice Douffet in 1987 in both the English and American runs of the production.

Tickets are available from £33.60 with this link:
https://www.atgtickets.com/shows/lettice-and-lovage/ambassadors-theatre/

Curve Theatre Leicester – Saturday 9 March 2024

By Amarjeet Singh

Scenes from RENT – a staged performance is part of Curve’s New Work Festival, a celebration of talented artists and creativity in the Midlands. Running in Curve’s Studio Theatre the production is an intimate and innovative exploration of Jonathan Larson’s acclaimed rock opera through the lens of the isolation and prejudice faced by deaf and hearing communities during the 1980s AIDS crisis. The company includes both deaf and hearing actors, who present scenes from the musical in British Sign Language (BSL) and English.

The idea for the project was born from the creative mind of Curve’s Regional Theatre Young Director, Lilac Yosiphon. It’s a culmination of her 18-month residency, and is an absolute triumph. Collaborating with musical direction from Ben Garnett, Choreography and movement by Stacey McCarthy, and Deepa Shastri on board as the BSL Consultant and Creative Associate. Narrative support is provided by Creative Captions to make it a fully inclusive performance. Scenes from RENT – a staged performance brought together a selection of key scenes and hit songs from the show, including ‘Seasons of Love’ and ‘La Vie Boheme’.

This is a stunning and moving piece of theatre. Innovative, immersive, interactive, and deeply moving. The choreography was intricate and clever. The integration of BSL with dance was mind-blowing. Deepa Shastri and Stacey McCarthy skills were humbling. Having a signed performance where there was not a static signer on the side of the stage but rather a mirroring player moving alongside and signing with the singing performer was incredible. Having non singing performers performing whilst the singers were off stage showed that anyone with talent can entertain, and boy did these guys do just that. Although this was a staged performance, the company had the audience clapping/waving, laughing, whooping and crying, It was incredible and truly showed what the future of inclusive and diverse theatre can and should be. Each and every performer gave it their everything, and their joy shone through the music, the movement and the melodies. This is a performance that will happily live Rent free in my head and I urge you to catch it whilst you can.

PHOTO FLASH

1st look at The London 50-Hour Improvathon: The Wedding Party

underway at  Wilton’s Music Hal

continuously until 9pm Sunday 10th March

The London 50-Hour Improvathon is back! It’s the 13th London Improvathon and back for the first time since 2019. So get ready to say ‘I Do!’ to an hilarious weekend with the world’s best improvisers.

It’s wedding season at Everafter Manor – the UK’s hottest spot to tie the knot. Loved-up couples arrive with friends and family to celebrate their big day, but will they even make it to the altar? Expect bouquet tosses, best man speeches, first dances, family feuds, adventurous catering and cold feet.

An extraordinarily large cast includes many of the world’s best improvisers, and comedy stars from TV, film and theatre – including Showstopper! The Improvised  Musical, Mischief and Austentatious. Many of this impressive ensemble will forgo a whole weekend’s sleep in this legendary feat of improv endurance, performing continuously for a full 50 hours.

Improvisers performing for the full 50 Hours: Seamus Allen, Jacob Banigan, Ruth Bratt, Justin Brett, Jamie Cavanagh, Belinda Cornish, Alan Cox, Mats Eldøen, Dylan Emery, Fabrizio Lobello, Inbal Lori, Mark Meer, John Oakes. Directors: Adam Meggido and Ali James. Not pictured: Charlotte Gittins and Nell Mooney

Guest performers include:’: Pippa Evans, Susan Harrison, Dave Hearn, Rufus Hound,Harry Kershaw,  Katie McGuinness, Ellie Morris, Ethan Pascal Peters, Andrew Pugsley, Charlie Russell, Henry Shields, Dan Starkey, Lucy Trodd, Sarah-Louise Young

The London 50-Hour Improvathon will be directed live over the weekend by Adam Meggido (co-artistic director of Olivier Award-winning ‘Showstopper! The Improvised Musical’ and director of the Olivier Award-nominated ‘Peter Pan Goes Wrong’) and Ali James (movement director of ‘Showstopper! The Improvised Musical’ and director of the ‘Southend 48 Hour Improvathon)

The London 50 Hour Improvathon will feature:

Regular players from the Olivier Award-winning Showstopper! The Improvised Musical: Jonathan

Ainscough, Ruth Bratt, Justin Brett, Julie Clare, Dylan Emery, Pippa Evans, Susan Harrison, Joshua C. Jackson, Ethan Pascal Peters, Philip Pellew, Andrew Pugsley, Lucy Trodd, Heather Urquhart.

Comedian and actor Rufus Hound.

Stars of Mischief Dave Hearn, Harry Kershaw, Ellie Morris, Charlie Russell and Henry Shields.

Dr Who regular Dan Starkey.

Actors from Ken Campbell’s School Of Night: Joseph Chance, Alan Cox, Oliver Senton.

Actor Katie McGuinness from Netflix’s Snowpiercer.

Cabaret star Sarah-Louise Young.

Canadian improv legends Jacob Banigan, Belinda Cornish, Jamie Cavanagh and Mark Meer.

Additional international guests include: Mats Eldøen, Fabrizio Lobello, Inbal Lori.

Improvathon regulars Seamus Allen, Charlotte Gittins, Nell Mooney, John Oakes.

With Tai Campbell, Josh Darcy, Will Ewart, Helen Foster, Andrew Gentilli, Fred Gray, Sally Hodgkiss, Tristan Langlois, Jinny Lyons, Chris Meade, Talia Pick, Luke Sorba, and Phil Whelans.

Featuring the marvellous musicians of Showstopper! The Improvised Musical.

And guest writers, including Mark Ravenhill, throughout the weekend.

Inspired by cinematic classics including ‘Four Weddings and a Funeral’, ‘My Big Fat Greek Wedding’, ‘Mamma, Mia!’, ‘Muriel’s Wedding’, ‘Bridesmaids’, ‘My Best Friend’s Wedding’, ‘Wedding Crashers’, ‘The Wedding Singer’ and many more!

A 50-hour improvised comedy soap opera in 25 hilarious episodes – you can catch just one episode, or binge watch the whole season like your favourite Netflix show.

Starting at 7pm on Friday and playing continuously in 2-hour episodes until 9pm on Sunday (yes, right through the night!) with a live band and refreshments available throughout. There’s even a special ‘Family Episode’ at 11am on Sunday, suitable for kids of all ages!

Come and join London’s biggest weekend wedding party!

Produced by Showstopper Productions & Oak Ash and Thorn.

LISTINGS INFO

Showstopper Productions Ltd

& Oak Ash and Thorn present

The London 50-Hour

Improvathon: The Wedding Party

Wilton’s Music Hall

Graces Alley,

London

E1 8JB

From 7pm Friday 8 March

continuously until 9pm Sunday 10 March

To book online:

http://wiltons.org.uk/whatson/860-the-london-50-hour-improvathon-the-wedding-party

Box Office: 020 7702 2789

Tickets:

£12 for your first episode

£8 for subsequent episodes

£65 weekend pass

£6 under-12 tickets for the family

episode, 11am Sunday

Booking fees may apply

Show Website:

https://www.improvathon.co.uk/

Social media:

Twitter: @theimprovathon

Instagram: @theimprovathon

TikTok: @theimprovathon

Facebook: /theimprovathon

Curve Theatre Leicester – until 9th March 2024

Reviewed by Amarjeet Singh

5*****

Come From Away is a profoundly touching, deeply thought-provoking and rather lovely musical. Based on events which occurred in the Newfoundland town of Gander during the week following the September 11th attacks, it follows what unfolded when 38 planes, carrying approximately 7,000 passengers, were ordered to land unexpectedly in the towns Airport. At the height of confusion, anger, and fear… compassion, kindness and unconditional generosity shone through when two worlds collided. The characters are based on actual Gander residents and stranded travelers they housed and fed.

A terrorist attack does not initially strike one as a theme for a musical, but it’s the humanity and humility, shared love and care, and the triumph of good over evil that is celebrated here with gusto. Christopher Ashley’s direction doesn’t shy away from describing the darkness of attacks and loss, but we are not left there for long before we are roused by humour and the reminder that life endures. We see a mix of people from different backgrounds with different stories, cultures, and experiences, some with hostility, one who felt he had to hide his identity. But still finding connection in the community either through food or religion or a joke or romance or something that connects us as human beings. Come From Away is peppered with stories from real people and it dispensed with an interval to build-up tension and emotion and enables us to follow the journey of all involved, we are all in it together.

Beowulf Boritt frames the stage with lofty pines, wood panels, signs that light up to offer different locations. Alongside Kelly Devine’s wonderful musical staging the deceptively simple set is brought to life. Tables become coffee shops, offices etc. but the chairs are like characters in themselves. They dance seamlessly across the stage, with the aid of the cast, becoming a plane, an air traffic control tower, a barbecue, a mountain range, a bar and many many things. Howell Binkley’s spectacular lighting design adds layers to the production. Using spotlights to create the illusion of a control tower, illuminating individuals as they tell their stories, and subtly switching from light to dark, shadow to warmth depending on the emotions needed to be conveyed. Andrew Corcoran’s musical direction is rousing and rhythmic. It was lovely to have the band come on to the stage at the end and play a reprise for us.

The cast are mind-blowingly talented, depicting numerous characters and nationalities without missing a beat nor resorting to cliché. They executed their movements almost as a second breath, with fluid precision, pulling a hat from here, a pair of glasses from there to become a different character and embodying them completely. Playing both ‘Plane People’ and ‘Islanders’, they balanced the two emotions and story arcs perfectly.

An inspirational and uplifting show, Come From Away combines a sublime score, endearing characters, and a real-life story of love and kindness, overcoming even the most harrowing of events that will truly melt your hear

Nottingham Theatre Royal – Thursday 7th and Saturday 9th March 2024

Reviewed by Louise Ford

4****

Lessons in love!

I think that when you go to see a classic opera you often  have to suspend belief about the plot and often the underlying premise of  the story, and simply revel in the glorious music and singing. So here we go!

The libretto of Cosi was written by Lorenzo da Ponte and the score by Wolfgang Amadeus Mozart, it was premiered in Venice in 1790. The current production by Opera North remains true to its roots and is set firmly in the 1700s, the Age of Enlightenment and scientific exploration.

So, the curtains open on a stark stage dominated by the all seeing eye of the camera obscura. The camera obscura, a precursor to the camera, focuses light on a subject
and also presents a reversed image of reality. Our guide and (science )teacher is the sharply dressed Don Alfonso (Quirijn de Lang) who knowingly looks to the audience as he start his experiment in love . He also nods to the orchestra to start the action.

The “eye” disappears and we are drawn into the interior of the box. A stark black room, with white highlights in the form of lines and a few pieces of furniture. All of the action takes place in this restricted, claustrophobic space. The protagonist enter via either  hidden doors or by the lift like doors, to great effect. The set which was designed by Tobias Hoheisel, who also designed the costumes, was first used back in 2016 by Opera North.

The costumes in this production are initially pared back and are pale and “boring” for the main protagonists and as the action hots up the colours subtly changes with the introduction of bright colours. Don Alfonso remains buttoned up and daper throughout. Despina  who is a splash of colour from the start has some great costume and disguises.

The opera is sung in English, rather than the original Italian, which means that the audience is able to appreciate some of the wittier exchanges more easily, rather than relying on the surtitles. Although the surtitles do come in handy for some of the more complex and fast exchanges!

There was an unexpected last minute substitution as Heather Lowe had been struck down by flu. The role of Dorabella was played by Sian Griffiths. She was light and delicate. She was a seamless replacement and had a rousing round of applause from the audience.
The role of the other sister Fiordiligi was played by Alexandra Lowe. She has a strong and powerful voice and was for me the star of the show.

The hapless lovers are played by Anthony Gregory (Ferrando), in his Opera North debut, and Henry Neill (Guglieme). They have great comic timing and  boyish charm.

The role of all seeing, all knowing servant Despina is played by Gillette Butterfield. With her costume changes, she is the audience’s favourite. For some reason her voice didn’t seem to project over the orchestra so at times her singing felt under powered and lost, which was a real shame.

There are some excellent comedy moments; the lift doors opening to reveal the lovers off to war in their Napoleonic great coats and tricorn hats; the arrival of the  “mysterious “ travellers from Albania (where else), in their exotic garb. The scene where the”doctor” cures the strangers (who have taken arsenic) with horseshoe magnets, produced with a flourish from the sleeves of her coat, is a highlight of Act 1.

Although my most favourite aria “Soave sia il vento “ sung by Dorabella, Fiordiligi and Don Alfonso, as the lovers set off on their sea voyage, was also a highlight.

All in all it was a great performance and the orchestra conducted with enthusiasm by Clemens Schuldt (he lost a baton at one point)  was the cherry on the top of a magical evening of music and romance!