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NEW COMPANY ANNOUNCED FOR OLIVIER AWARD NOMINATED WEST END SENSATION

THE CHOIR OF MAN

PLUS THOUSANDS OF NEW TICKETS RELEASED!

NOW BOOKING AT THE ARTS THEATRE UNTIL 29 SEPTEMBER 2024

TICKETS AVAILABLE TO BOOK HERE

Opening hours extended again! The Olivier-nominated international stage sensation THE CHOIR OF MAN now in its second singsational year continues its sell-out West End run at the Arts Theatre, with new tickets released for dates until 29 September 2024.

Welcome to THE JUNGLE, the best pub in the world.

Here, an (extra)ordinary cast of nine guys combine beautiful harmonies and foot-stomping singalongs with first-rate tap dance and poetic meditations on the power of community.

Brimming with hits from artists such as Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns & Roses, Avicii and Katy Perry to name but a few, this is a pub like no other!

An uplifting celebration of community and friendship with something for everyone – including free beer! Enjoy 90 minutes of feel-good, foot-stomping entertainment unlike anything else in the West End.

The cast members who are staying as pub regulars are Adam Bayjou (The Choir of Man – US Tour, Les Misérables – West End) as ‘The Hard Man’, Michele Maria Benvenuto (The Choir of Man – Norwegian Cruise Line, West End debut), as ‘The Maestro’, Ben Goffe (Hex – National Theatre, Snow White at the London Palladium – London Palladium) as ‘The Handyman’, Luke Conner Hall (Bat Out of Hell – International Tour, Australia/New Zealand, Peacock Theatre, QUEENZ: The Show With Balls! – Coventry, Edinburgh Fringe, UK Tour) as ‘The Romantic’, Mark Irwin (The Choir of Man – Korea, US Tour, Sydney Opera House, Norwegian Cruise Line, European Tour, The Commitments – Palace Theatre) as ‘The Barman’ withSam Ebenezer (The Mousetrap – St Martin’s Theatre, Cinderella – Sunderland Empire) moving from swing to a permanent role as ‘The Poet’ and Niall Woodson (making his West End debut) continuing as a swing.

Choir of Man International alumni joining the West End Company include Robert Godfrey (Choir of Man – Sydney Opera House)as ‘The Beast’, with Seán Keany (Once in Concert – West End, China and Japan, The Choir of Man – Korea) and Richard Lock (Original ‘Beast’ in The Choir Of Man – West End) to join as swings.

New cast joining The Jungle from Tuesday 12 March are Sam Pope (Bat Out of Hell – UK Tour) as ‘The Joker’, swing Alex James Ellison (Fiver at Southwark Playhouse, Glory Ride – The Other Palace) and finally music producer and bassist from Metronomy, Olugbenga Adelekan will be making his West End debut as ‘The Pub Bore’.

The on-stage band has Emmanuel Nana Kwasi Bonsu on drums, Jack Hartigan on guitar, Darius Luke Thompson on violin and Sam Tookey on bass.

THE CHOIR OF MAN previously played three sell-out seasons at the Sydney Opera House and multiple sold-out US and European tours. Following its last run at the Arts Theatre from October 2021 to April 2022, it received an Olivier nomination for Best Entertainment or Comedy Play, and then went on to play in Coventry as part of the City of Culture Assembly Festival season and at the Edinburgh Fringe Festival. The show re-opened at the Arts Theatre in October 2022, and has continued to see many sold-out shows, with loyal audiences returning again and again. In 2023 the show announced partnerships with suicide prevention charity CALM (The Campaign Against Living Miserably), and Big Drop Brewing Co – the world’s first brewer dedicated to alcohol-free beer – as the show’s Official Alcohol-Free Beer Partner.

THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with musical supervision, vocal arrangements and orchestrations by Jack Blume, movement direction and choreography by Freddie Huddleston, monologues written by Ben Norris, scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and associate scenic design by Verity Sadler, sound design by Sten Severson, casting by Debbie O’Brien. Tom Brandon (Original ‘Hard Man’) serves as Associate Director with Lee Freeman as Musical Director and Adam Hilton as associate movement director.

The show is produced by Immersive Everywhere, Nic Doodson, Andrew Kay, Wendy & Andy Barnes, Gavin Kalin and Hunter Arnold.

Nic Doodson said, “We’re absolutely delighted to extend the opening hours of The Choir of Man in the West End. Since first opening at the Arts Theatre in 2021, it’s come to be a real home for us and we love opening the doors to The Jungle, our onstage pub, and welcoming everyone in to share an evening of stories, song and of course, a beer or two. The new company that will be the landlords of The Jungle are an incredible group of performers and we can’t wait for not only our regulars but also our new visitors to see them every night!“

Website: choirofmanwestend.com

Facebook: @thechoirofman

Twitter & Instagram: @choirofman

Rachel Stockdale’s powerful and hilarious Fat Chance
heads on tour this spring
UK Tour
March – April 2024

Written and performed by Rachel Stockdale, this powerful one-woman play Fat Chance is heading on tour from 8th March, International Woman’s Day. This funny and honest production, directed by Jonluke McKie, explores Stockdale’s true-life experiences of weight gain from size 8 to size 18 as she rebels against toxic beauty standards and expectations, and takes back the word fat.

Stockdale (Scar Top, BBC Radio 4; The Black Prince, Netflix), a fat, benefit-class actress from Middlesbrough, explores her experiences as she fights against conformity and celebrates her own body in this critically acclaimed production. The audience is invited to dive in headfirst with Stockdale as she faces challenges on her journey to carve out a career as an actress, all while tackling diet culture, stigma and audition nerves.

Writer and performer Rachel Stockdale comments, It’s important to have authentic fat representation on stage and I think being confident and happy in my skin as a woman who is a size 18-20 is pretty radical. We’re seeing an increasing number of people taking Ozempic (diabetes medication) to lose weight regardless of the impact on their health and actors winning awards for daring to wear a fat suit and be seen as ugly (I have strong opinions on The Whale’s fatphobia!). As a professional actor I’ve been told by top agents that even though I have talent I’m ‘too Northern, fat and female’. Fat Chance is a funny, reflective look at my life and struggles to succeed in an industry that doesn’t want to represent people like me.

Fat Chance is for anyone who’s felt like they had to shrink themselves, adapted to be more palatable to others, put on or lost weight and been treated differently and anyone who’s had free school dinners. Fat Chance is an opportunity for anyone who feels they don’t fit to come along and celebrate themselves.

Previous praise for Fat Chance:

Eat your heart out Jo Brand, there’s a new girl on the block and one with a message to boot. -★★★★ The Reviews Hub

I’ve never felt an audience collectively hold its breath in sheer shock and anticipation. This is raw and this is real. – ★★★★★ The Crack Magazine

On rare occasions… you get to see a theatre performer who changes the way you see the world. So it was when Rachel Stockdale held the stage and audience… in Fat Chance. – ★★★★★ North East Bylines

The tour of Fat Chance has been made possible with funding from the National Lottery through Arts Council England, and in associated with Northern Stage.

theSpaceUK announce over 100 shows go on sale at the Edinburgh Festival Fringe 2024

It’s time to bring a little cheer into your life as theSpaceUK announces the first shows on sale for the 2024 Edinburgh Festival Fringe. With over 100 shows are going on sale, here’s a quick peak at some you should definitely book early for

Theatre
Double Fringe First winners, Xhloe and Natasha are back with the absurd brilliance of A Letter to Lyndon B Johnson or God: Whoever Reads This First. After picking up consecutive Fringe Firsts in the last two years, the talented NYC based duo are back with their brand new two-hander that explores the complexities of the idealised American childhood and the lingering impact it leaves behind.

Explore the revolutionary reimagining of Shelley’s Frankenstein in Cruel Britannia: After Frankenstein by Kristen Smyth and Ben Anderson, which offers a daring transgender perspective set in the tumultuous landscape of Maggie Thatcher’s Britain. There’s queer, political coming-of-age fantasy in The Sun King by Peedie Productions, which tells the story of a boy’s adolescence in conversations with the king of a magical realm.

The mysterious world of Charles Dickens: The Hanged Man’s Bride by Blue Orange Arts is a tale of suspense and intrigue, questioning what is real and what is not. Step into the tumultuous world of social media in Addict from Motovoho Productions, when a seemingly innocuous tweet goes viral, the relentless online trolls attack in this brand-new tale of revenge and self-discovery.

Death Becomes Us by Hannah Whittingham is a brand new drama that faces death head-on with confessions, music and an explanation as to why no decent death jokes exist. One Sugar, Stirred to the Left by Karekare Production is a heart-warming new musical play, where nurse Bronwyn finds herself commissioned to write an album by one of her dying patients.

Based on true events of one woman’s odyssey to escape Syria’s brutal war with her baby Hagar: War Mother by Amena Shehab is a poignant journey. Winning is more than eternity in The Gospel of Joan (Crawford) by teatrito where five women united in Hell face a high-stakes poker match dealt by the illustrious Joan Crawford, vying for a spot in Heaven.

Music & Musicals
There’s crimes, rhymes, and good times in the thrilling world of The Detective’s Demise by Grownup Playhouse. In this new murder-mystery comedy musical, a detective meets his demise at his own birthday party and trainee sleuth Molly Evans is keen to crack the case.  There’s a wild ride through the trials and triumphs of growing up in Essex in Trust Me, I’m from Essex. Buckle up as Lindsay Lucas-Bartlett takes you on a wild ride through what it was like growing up in Essex, being bullied at school, and everything in between. Five down the rabbit hole in the family-friendly adventure Alice in Wonderland by Nardone’s Academy of Performing Arts a brand-new musical adaptation of the timeless classic that’s packed with zany adventures, curious characters, and whimsical wonders.

Discover the remarkable life story of Helen Carte in Gilbert and Sullivan’s Improbable New Musical: …and Helen by The Coily Dart Theatre Company that features music from every Gilbert & Sullivan production and shines a spotlight on Carte’s contributions to the success of these famous operettas. Frankie Mack – The Vegas Showman stars the electrifying Frankie Mack. Experience a powerhouse fusion of charm, energy, flair, smoothness, and wit as Mack channels the spirits of Dean Martin, Elvis Presley, Robbie Williams, Michael Bublé, and Freddie Starr. 

Night Owl Shows return with a packed programme of old favourites and brand-new shows in their inimitable style depicting the lives of some of the most influential singer songwriters of the 20th Century. Returning fan favourites feature 007 Voices of Bond, California Dreams, Back to Black: The Music of Amy Winehouse, The Blondie Story, The Billy Joel Story, The Look of Dusty and The Fleetwood Mac Story. Whilst new for 2024 are 21: The Music of Adele with the awe-inspiring Ella McCready, The Elton John Story, and The Story of Sting and The Police fromAngus Munro whilst Hannah Richards premieres the newest addition to the award-winning Night Owl line-up in The Kate Bush Story.

Comedy
Join Private Eye’s MD Phil Hammond and DrClare Gerada in Fifty Minutes to Save the NHS as they devise a revolutionary health manifesto with your help. Blending the silly with the serious, this subversive take on the challenges facing the NHS is supporting the charity, Doctors in Distress. Prepare to have your perceptions of pleasure dissected and examined in The Ins and Outs of Pleasure by Phil Hammond. Using a blend of science and storytelling, Phil Hammond helps audiences in safe and sustainable pleasuring practices.

In the whimsical world of AL! The Weird Tribute (and How Daniel Radcliffe Got Mixed Up in This Nonsense) by Steve Goodie, “Weird Al” Yankovic and Daniel “Harry Potter” Radcliffe join forces at the Fringe (sort of)! Packed full of laughter, surprises, and perhaps a touch of magic.

This fabulous new comedy from viral sensation Tom Hearn in Tom Hearn Live: How Fabulous is That?! whichfeatures an array of original characters alongside musical performances and guest appearances. Laugh until your sides ache with Antics Joke Show: Sketch and Improv Comedy by Up the Antics with their mix of sketches, improvising and non-stop laughter. 

And finally, don’t miss Ajahnis Charley: Thots and Prayers as the feisty twink navigates the challenges of Gay Heaven. Witness the HOMO, or suffer the FOMO.

Plenty of shows to pour over and ponder for the 2024 Edinburgh Festival Fringe.

PARANORMAL ACTIVITY GOES LIVE!

AT RICHMOND THEATRE WED 6 MARCH 

The chart-topping Paranormal Activity podcast is launching its first LIVE podcast recording at the Richmond Theatre on Wednesday 6^th March.

Join the newest member of the Paranormal Activity family, TV’s Gail Porter, as alongside expert guests, she explores the infamously haunted theatre to dig deeper into the stories of what goes on after dark.

Whether you are a sceptic or a believer, this live podcast recording is sure to send shivers down your spine and spark your imagination.

Melissa Mercury, a tarot reader from London who is fascinated by witchcraft and the occult, will be debunking tarot myths, and Spectrum Paranormal, one of London’s longest-standing and prominent paranormal research teams will be looking for tangible evidence of supernatural phenomena.

Come armed with your own paranormal experiences, and expect terrifying tales, audience interaction, surprise guests and hopefully…a spirit or two!

Book your tickets now and step into the captivating world of the paranormal!

Gail Porter said, “I’m so excited for this show! The history of Richmond Theatre as one of England’s most haunted makes it the perfect venue to search for signs of the paranormal – staff and visitors alike have reported spine tingling encounters with unexplained phenomena with the theatre’s walls, so we should be in for an interesting evening!”

Marcus Railton from Create Podcasts, the agency that produces the podcast said: “Paranormal Activity has been such a huge hit podcast so we wanted to take things to the next level and bring the energy and experiences from a live podcast recording to the fans.”

Yvonne Arnaud Theatre – until 24 February 2024

Reviewed by Heather Chalkley

3***

Director Richard Twyman has re-envisioned Macbeth with an intrepid and unique interpretation. Set in modern times, he nods to its relevance in today’s world of obsession, corruption and overcoming tyranny. The focus on the psychological and domestic landscape of the Macbeth’s, leads the first half of the play to be based in the dark, claustrophobic four walls of their home. The reframing of the three weird sisters is a testimony of the witch hunts that pervaded England, Scotland and most of Europe during the 16^th century, when Shakespeare originally wrote the Scottish play. So much is packed into this new interpretation, it creates some disjointedness to the timeline and storytelling generally. One of Shakespeare’s best known plays, you do need to know the story before you see this production.

Full admiration for the cast, with no let up to the drama and intensity of the piece. The soliloquies by Laura Elsworthy (Lady Macbeth) and Mike Noble (Macbeth) are exceptional, giving you full bodied emotions to reflect the guilt, passion and psychological torture they are experiencing. Woven into the performance is the clear message that human acts can have supernatural causes. The bloody ghost of Banquo (Brian Lonsdale) is as chilling for the audience as it is for Macbeth (Noble).

The creative team create clever layers and atmosphere to each scene, using on stage and handheld cameras projected on to overhead screens, that form a natural part of the set. It allows close ups at poignant moments. It enables us to see what Macbeth (Noble) was seeing in his torment and no one else in the room. It supports us to envision scenes beyond the home of the Macbeth’s. 

The hope for a better future for the next generation is intrinsic to the play – if they survive! A play never for the faint hearted, this version will either incense or intrigue Shakespeare. The fact Will is not here to comment leaves me thinking, the director has cart blanche to not just alter the timeline but the script itself, perhaps condensing it for a younger audience. 

DONNY OSMOND

RETURNS TO

CATCH HIS ONLY UK DATES IN A MAGICAL CHRISTMAS SEASON AT THE EDINBURGH PLAYHOUSE WHERE HE WILL PERFORM AS ‘PHARAOH’

36 PERFORMANCES ONLY

TUESDAY 3 DECEMBER – SUNDAY 29 DECEMBER 2024

Today Michael Harrison and the Really Useful Group are delighted to announce that Joseph and the Amazing Technicolor Dreamcoat will mark the opening of its second UK tour with a strictly limited festive season at the Edinburgh Playhouse this Christmas. Making his first UK appearance in a stage version of the production, global entertainment icon and highly-celebrated alumni star of Joseph, Donny Osmond returns to play ‘Pharaoh’, who rocks ‘Song of the King’ in the iconic musical – and first major collaboration – with lyrics by Tim Rice and music by Andrew Lloyd Webber.

Joseph and the Amazing Technicolor Dreamcoat returns to the Edinburgh Playhouse following a blockbuster week at the venue which concluded the show’s 2022 tour. Described by The Scotsman as ‘a truly heart-lifting show,’ tickets go on sale to ATG Theatre Card holders today (Wednesday 21^st February) at 10am and on general sale tomorrow, Thursday 22^nd February, at 10am HERE

In an illustrious, six-decade-long career full of dazzling highlights – which include selling over 100 million records, receiving 33 gold records, a headlining and record-breaking Las Vegas residency and performing to millions of fans across the globe – one of Donny’s most notable appearances is his starring role as Joseph in the US and Canadian productions of Joseph and the Amazing Technicolor Dreamcoat.

Donny made more than 2,000 performances in the titular role between 1992 – 1997 and his iconic depiction of the much-loved character was committed to film in 1999. Filmed at Pinewood Studios the recording also starred Joan Collins, Richard Attenborough and Maria Friedman.

Donny returns to the UK stage, having most recently appeared in Michael Harrison’s iconic Pantoland at the Palladium, receiving accolades and stellar reviews for his turn as The Wizard of Pantomime. 

Donny Osmond says of his return to the show: “I always knew I would return to Joseph and the Amazing Technicolor Dreamcoat.  Having starred as Joseph in over two thousand performances in this magical musical, I am now ready to channel my inner Elvis and assume the role of Pharaoh in Edinburgh starting this December.” 

Producer Michael Harrison adds: “Following the extraordinary reception the Edinburgh Playhouse and thousands of theatre fans gave Joseph and the Technicolor Dreamcoat at the end of the 2022 tour, it made absolute sense to begin the new tour here and to ask Joseph royalty, Donny Osmond, to star as our festive season Pharaoh. Few shows bring the generations together the way Joseph does, and we are honoured to have an icon of the show join us to create a magical moment for families this Christmas, who will cherish the experience for years to come.”

Released as a concept album in 1969 – ahead of its professional premiere taking place in the Scottish Capital in 1972 as part of that year’s Edinburgh International Festival programming -the stage version of Joseph and the Amazing Technicolor Dreamcoat has become one of the world’s most beloved family musicals.

Joseph and the Amazing Technicolor Dreamcoat is directed by Laurence Connor. Laurence’s credits include the acclaimed London production of School of Rock and the Tony-Award nominated production on Broadway, the recent London productions of Miss Saigon, Chess and Cinderella, the international arena tour of Jesus Christ Superstar and he is also the Co-Director of the new version of Les Misérables which has enjoyed worldwide success including Broadway, UK and US tours.

JoAnn M Hunter (who has 20 Broadway shows to her credit, including School of Rock and On A Clear Day You Can See Forever) is the show’s choreographer, set and costume design are by the award-winning Morgan Large with Ben Cracknell as Lighting Designer and Gareth Owen as Sound Designer.

Joseph and the Amazing Technicolor Dreamcoat is produced by Michael Harrison.

For further information, please see http://uktour.josephthemusical.com/

Hampstead Theatre – until 16th March 2024

Reviewed by Celia Armand Smith

3***

It’s 1960s Los Angeles, and internationally renowned director Alfred Hitchcock (Ian McNeice) is hosting his exhausted and struggling muse Tippi Hedren (Joanna Vanderham) at his cottage on a studio backlot while they film ‘Marnie’. He boasts about discovering her, controls her wardrobe, and comments on her every move as though he can’t stop being a director, even at home. In a Suffolk cottage (which coincidentally looks the same as Hitchcock’s cottage) a few years later are Vincent Price (Jonathan Hyde) and his young director Michael Reeves (Rowan Polonski), arguing about the treatment of the star on the set of a new horror film called ‘Witchfinder General’. A same same but different power dynamic at play.

Hitchcock is known to have treated women terribly, objectifying and manipulating them, and McNeice adds a subtly to a role that could easily have been a caricature. Vanderham’s portrayal of trapped Hedren in a beautiful pale blue suit is tense and despairing, and we are left willing her to stand up to the horrible Hitchcock. Price and Reeves have a similar strange and difficult realtionship. Polonski is brilliant as the troubled 24 year old director, wrestling with mental health problems and authenticity in film. In contrast to the wired Reeves, Hyde’s Price is wonderfully disillusioned and tired, and just wants to do the job he’s always done while ageing out of an industry built for young people. The Price/Reeves relationship is the more engaging on stage, but I am gripped reading about Hedren and Hitchcock all the way home.

Written by celebrated screenwriter and playwright John Logan, and directed by Jonanthan Kent, the weaving in and out of these stories of power dynamics and manipulation is at times both anxiety inducing and awkward. There are beautiful moments of perfect synchronicity involving both pairs; at one point they are all eating around the table together but years apart, a seamless ballet of speech and movement.

Anthony Ward’s set is wonderfully familiar, with staffordshire dogs and moody decor, able to be located in Los Angeles and Suffolk simultaneously. Hugh Vantstone’s lighting dances around the cast, highlighting who is talking, quietly hiding the other pair when necessary.

There are elements of this production that are all at once laugh out loud entertaining and quietly tragic, but even in this economy, getting two plays for the price of one isn’t quite the bargain you think it is. The stories and the director/actor pairings are more deserving of space and separation, and more importantly the steadfast focus and attention of the audience.

Festival Theatre, Malvern – until 24th February 2024

Reviewed by Courie Amado Juneau

4.5****

Murder In The Dark is a deliciously odd new play that tells the tale of a lady who comes to the aid of some travellers when their car loses out in an argument with a wall. Though the house she deposits them in is cold and dank it’s an improvement on the outside weather so, at first, there is some blessed relief. That relief turns out to be not so blessed nor long lasting as they would have hoped…

The programme asks us to “spread the word (but not the spoilers)”. This makes sense as there are many twists and turns which are all part of the fun. But it does make it difficult to review without giving the game away.

Mrs Bateman, heroic rescuer extraordinaire, is played by the incomparable Susie Blake in a totally bonkers portrayal (I mean that as a compliment) that has just about everything in it, displaying her mastery of comedy, drama and timing. It was a joy to watch her character unfold in a commanding performance.

Tom Chambers mines a rich seam of confusion at events and frustration at those around him in the multifaceted role of Danny; driver of the car and former teen star latterly down on his luck. Like Blake, he straddles the dark and the light with an easy assuredness.

Our two leads are ably supported by a stellar cast – Rebecca Charles (Rebecca, Danny’s ex), Owen Oakeshott (William, Danny’s brother), Laura White (Sarah, Danny’s current girlfriend) and Jonny Green (Jake, Danny and Rebecca’s son). The writer has given them all a lot to get their teeth into and they don’t disappoint – I was impressed with everyone’s range throughout. As you can guess by the dramatis personae, there’s a wealth of subplots going on with all those familial connections and each brings their own demons to battle.

The set uses space with an inventive economy, providing us with some genuinely jarring, unsettling moments out of the blue (or the black). With the electrics on the fritz, it’s nice to see darkness play such an integral part in proceedings. I found myself spending a lot of time wondering just what will appear from those murky recesses. Max Pappenheim (Sound Designer and Composer) and Paul Pyant (Lighting Designer) deserve special mention for the marvellous effects they produced.

Rather like several popular TV shows (which I cannot mention for obvious reasons), if you like the oddball, quirky, darker side of TV scheduling with a twist in the tale this play will keep your boat afloat nicely. I enjoyed it though I did find myself flummoxed for long periods, wondering exactly what was going on – so well done the playwright Torben Betts for keeping us guessing. Rest assured though, the ending does reach a satisfactory conclusion.

An entertaining play that I would like to see again, I thought the ending was very inventive (I thoroughly appreciate that type of ending). Couple that with some powerhouse performances and this is likely to be a crowd pleaser (though perplexer). I encourage you all to brave the cold, dark nights to get out to Malvern and catch this play while you can – though do be careful on your drive home…

Hull New Theatre – until 24th February 2024

Reviewed by Dawn Bennett

5*****

I Should Be So Lucky The Musical bounced into Hull New Theatre last night and what a brilliant night it was! Created by Debbie Isitt (who also wrote the Nativity! series of films) and with the music from Stock Aitken Waterman’s it is probably one of the most fun, feelgood musicals I have seen in a long while.

I could just listen to Stock Aitken Watermans back catalogue of music on its own, and regularly do to be honest, but the visual feast that was last nights show had to be seen to be believed…I mean we even had appearances by Kylie!

I Should Be So Lucky tells the story of Ella (Lucie-Mae Sumner) who, on her wedding day, is jilted at the alter by her finance Nathan (Billy Roberts). As she is naturally devastated by this, her family, sister Britney (Emma Crossley) Mum Shelley (Melissa Jacques) and Shelly’s Mum Ivy (Jemma Churchill) and her friends Bonnie (Kayla Carter) and Michael (Scott Paige) decide to go with her on her honeymoon which is a romantic holiday resort in Turkey. Back at home Nathan along with his best man, Ash (Giovanni Spanò) go round to Ella’s house but after talking to her Dad, Big Mike (Gary Davis) find she’s gone to Turkey, so they decide to go there to find her as Nathan realises the mistake he has made. In the resort Ella meets Olivia (Anna Unwin) who she went to high school with and who she wasn’t exactly friends with, and her husband Revel Harrington III (Aidan Nightingale), trying to impress them Ella says that her husband is Nadeem (Mathew Croke) who works in the resort. Manager Spencer (Jamie Chapman) asks Nadeem to look after Ella and he takes her to all the places that finance Nathan had organised for them to go on their honeymoon. And then the mayhem begins!

All the cast are brilliant in this production, their singing, dancing and acting were outstanding. I particularly enjoyed watching Jamie Chapman (Spencer) who’s timing and comic skills had the audience howling with laughter and Giovanni Spanò (Ash) who’s all round performance was brilliant to watch.

The band played the iconic tunes faultlessly, and they included the very recognisable I Should Be So Lucky, Venus, Toy Boy, Respectable, Never Gonna Give You Up and many more.

This production is just brilliant, the music takes you right back to the sounds of the 80’s. The songs alone are worth the ticket price but with this brilliant cast it makes it a must-see show. Just Fabulous!!

Leeds Playhouse – until 24 February 2024

Reviewed by Sal E Marino

5*****

Frankenstein, inspired by Mary Shelly’s novel (that she wrote at the age of 18!), was brought to life again by the ground-breaking and innovative Imitating the Dog with Leeds Playhouse in a new and totally unique production of this spellbinding classic. Every adaptation I’ve seen previously by Imitating the Dog has been mind-blowing and mind-bending and once again with Frankenstein, I was delighted to enter a world of contrasts that the directors and creatives weaved together perfectly.

Gothic themes entwined in 21st century technology might not seem apt at first but when we think of the age in which Shelley was living in, that of a scientific revolution, it made an ideal partnership. The modern-day story that was interweaved so brilliantly with the 1818 narrative had a natural common bond – that of life. The nameless couple we meet in their grey apartment, just as a storm has erupted, are in a quandary about a new life they have created and if they should proceed to bring ‘it’ who later becomes referred to as ‘her’ into the dystopian world they reside in. Is it responsible? Are they capable or good enough of being parents? Parallel to this, Dr Victor Frankenstein is also caught in a storm aboard a ship and about to face the life he created and then rejected as soon as ‘it’ was birthed.

Our couple convey their feelings with not just words but through intense sequences of movement that dramatically display their internal struggles with themselves and each other. Their bodies show us anger, despair, desperation, love and passion in a way that hits the mark more powerfully than words; it was exceptional. The same performers play the parts of Victor Frankenstein, the ship’s captain and the ‘monster’ with equally compelling vigour. I really felt Victor’s remorse and his creation’s heart-breaking pain as he had come to realise what he was soulless and so will never be able to experience love like a human – who is always surrounded by the love of source (although we forget) and will return to it after death. The monster has been created by ‘a man’ and is made up of fragments of ‘borrowed’ body parts so how can he truly find himself and the key to his eternal soul-self? He can’t and he knows it.

The couple become distracted by a homeless man who like the monster is presented to us as angry and the couple ponder as to why. What made him like that? Did his family not love him? Their kind and loving human instinct kicks in and they want to help him despite having no apparent connection to him but of course they do – he’s human and innately we know we are all connected through the sacred tree of life that we all come from. They feel ‘something’ for him and in doing so, start to connect with the unborn child they have created – a precious life.

The creative team really have surpassed themselves with this production. It was like the energy that fuelled Victor’s experiment, electrifying with so many different effects. You felt like you could be in modern-day Frankenstein’s lab in parts as many things were fusing, exploding and manifesting on screens with a pizzazz of light and red liquid. It was mesmerising.

This production of Frankenstein is daring, dazzling and deep. It’s wise to know a little about the original story first if you don’t already – just a quick google of the basic outline – and then be prepared to be enthralled.