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DUE TO PHENOMENAL DEMAND

JOHN CLEESE’S

FAWLTY TOWERS – THE PLAY

EXTENDS WEST END RUN FOR A SECOND TIME AT

APOLLO THEATRE SHAFTESBURY AVENUE

NOW PLAYING UNTIL 1 MARCH 2025

ADDITIONAL TICKETS ON SALE FRIDAY 25 OCTOBER AT 10.00AM FROM FAWLTYTOWERSWESTEND.COM

John Cleese’s Fawlty Towers – The Play, “the funniest show in town” (Daily Express), today announces that it is extending its West End run for a second time. Currently playing at London’s Apollo Theatre Shaftesbury Avenue, the critically acclaimed production will now run until Saturday 1 March 2025. Tickets for the extended dates will be on sale on Friday 25 October at 10.00am from FawltyTowersWestend.com.

Comedy legend John Cleese, who originally co-wrote the “greatest British sitcom of all time” (Radio Times) with Connie Booth, has taken three of his favourite original TV episodes – ‘The Hotel Inspector’ and ‘The Germans’ from series one and ‘Communication Problems’ from series two – and adapted them into a two-hour play, complete with a new finale, for the West End stage.

On announcement of the extension, John Cleese said: “When we came up with the idea of bringing Fawlty Towers to the West End, I never thought it would get the reception that it has. It’s been almost exactly 50 years since we recorded the pilot at BBC Television Centre and I’m delighted that audiences still think it’s as funny as ever. As a result, we’ve been able to extend the West End run not once, but now twice! I believe that farce is funniest in a theatre with a live audience, and I’m very happy that this extension gives more people the chance to see our superb cast in action.”

Directed by Caroline Jay Ranger, this “as good as comedy gets” production (Sunday Times) opened in May to rave reviews. The show stars Adam Jackson-Smith as Basil; Anna-Jane Casey as Sybil; Hemi Yeroham as Manuel; Victoria Fox as Polly and Paul Nicholas as The Major.

The play also features many of the beloved characters from the original TV sitcom on stage for an unmissable evening of “Fawltless” (Mail on Sunday) comedy: Mrs Richards played by Rachel Izen; Mr Hutchinson / German Guest played by Steven Meo; Miss Tibbs played by Kate Russell-Smith; Miss Gatsby played by Nicola Sanderson; Mr Thurston / German guest played by Greg Haiste; Mr Walt / Dr Finn played by Danny Bayne; Taxi Driver / Mr Firkins / Mr Kerr / Mr Sharp played by Neil Stewart, German guest played by Emma Fenney and Hotel Guests: Mia Austen, John Hasler, Dale Superville. Completing the company of players are Ben Jacobson and Suzy Bloom.

Following a tip off that hotel inspectors may be visiting and eager to impress, Basil attempts to ingratiate himself with guests that he suspects are there to critique the establishment. The situation is further plagued by a party of Germans, the deaf and dotty guest-from-hell, Mrs Richards, whose infuriating complaints prevent him from hiding a gambling win from his ever vigilant and bossy wife, Sybil. Together they run their hotel with a little help from the unflappable Polly, and very little help at all from Manuel, the trainee waiter from Barcelona who is the butt of Fawlty’s frustration.

Fawlty Towers was first broadcast on BBC Two on 19 September 1975. The iconic TV show went on to win many awards and plaudits including two BAFTAS for Best Situation Comedy and in 2000 it was voted the best British programme of all time in a British Film Institute poll. Set in a fictional hotel in the seaside town of Torquay, just 12 half hour episodes of the iconic comedy were made.

The sitcom is based on a real-life hotel owner, Donald Sinclair. John Cleese came up with the idea for the character Basil Fawlty when he stayed at Sinclair’s Gleneagles Hotel in Torquay and became fascinated with his incredibly rude behaviour.

The creative team includes:

Written by John Cleese & Connie Booth

Adapted for the stage by John Cleese

Directed by Caroline Jay Ranger

Set and Costume Designer – Liz Ascroft

Lighting Designer – Ian Scott

Casting Director – Anne Vosser

Assistant Director – Denise Ranger

Resident Director – Chris Kiely

LISTINGS INFORMATION

Apollo Theatre, Shaftesbury Avenue, W1

Booking until: 1 March 2025

Performances: Tuesday – Saturday at 7:30pm. Wednesday, Thursday and Saturday matinee at 2:30pm

Website: FawltyTowersWestend.com

Instagram: @FawltyTowersWestEnd

Facebook: @FawltyTowersWestend

X: @FawltyTowersWE

New musical WHY AM I SO SINGLE? will end its limited season at London’s Garrick Theatre, with its final performance on 19th January 2025 Garrick Theatre, 2 Charing Cross Road, London WC2H 0HH

Final performance – Sunday 19th January 2025

This ‘riotously life-affirming’ (The Times) all-singing, all-dancing musical by Toby Marlow and Lucy Moss has captured the hearts of audience members and critics alike, receiving twenty-two 5* and forty 4* reviews.  Despite the nightly standing ovations and tremendous word of mouth, it has proved difficult to make a brand-new musical commercially sustainable in the current economic climate.

The producers have said, We are extremely proud of the production and thank all the cast, musicians, creatives, and backstage team who have worked together to bring something daring and original to the West End. We are not discounting the possibility of bringing the show back into London in the future and, with discussions about potential productions in the US and around the world already underway, we are confident that it is just the beginning for this extraordinary show.

Authors Toby Marlow and Lucy Moss have said, We are so grateful to our truly remarkable cast who have brought this work to life at every performance with such passion, talent, and commitment. We are so grateful to our wonderful company and creatives who have put all their humour and heart into our show. We are so grateful to everyone who has worked hard behind the scenes to bring WHY AM I SO SINGLE? to the West End. We are so very grateful to the producers for taking such a risk on an original, ambitious musical like this and making our wildest dreams come true. And finally, we are SO grateful to everyone who has seen the show so far, and we hope more of you will be able to come and see it in the coming months! We are, of course, pretty sad that it’s coming to an end earlier than we’d hoped but we are very proud of the show and are super excited to see what the potential future journey looks like. We cannot WAIT for you all to listen to more of the music, which we’re working away at right now and, not to boast, but we think it’s going to BEE pretty great ;).

WHY AM I SO SINGLE? was originally booking until 13th February 2025; any customers who have purchased tickets after 19th January will be contacted by their ticketing provider.

WHY AM I SO SINGLE? is produced by Kenny Wax, George Stiles and Ameena Hamid.

Southwark Playhouse – until 23 November 2024

Reviewed by Claire Roderick

4****

Musicals about grief aren’t always uplifting, but this new musical soars with emotion and acceptance.

Fifteen-year-old Malia (Robyn Rose-Li) dreams of being a writer, but an idyllic summer at writing camp soon sours, with her YA story Fly More Than You Fall, about a bird with broken wings trying to get to the top of a mountain, being mocked as a children’s book by the other campers. Reality hits even harder when her parents arrive with the tragic news that Malia’s mother Jennifer (Keala Settle) has stage 4 cancer and she returns home for one last summer together.

Malia’s mother is a teacher and, despite her failing health, continues to critique and encourage Malia to complete her story. The first act deals with Malia and her father’s (Cavin Cornwall) anticipatory grief as they struggle with their need to care for Jennifer and make her remaining time comfortable, and their anger that she is leaving them. This grief is evident in Malia’s writing as the bird Willow (Maddison Bulleyment) and her companion Flynn (Edward Chitticks) struggle to deal with each other’s emotions.

There is no need to see Jennifer’s death in this show – the absence she leaves in Malia and her father’s lives is the crucial point. Act 2 begins at the funeral, and the darker tone and slower ballads jar with the few upbeat numbers brilliantly, depicting the puddle jumping that young teenagers can still experience as they navigate their feelings. Writers Eric Holmes and Nat Zegree wisely choose not to have Keala Settle appear with supernatural/dream advice for Malia as this would cheapen and Disneyfy Malia’s journey. Instead, Malia stutters and takes false turns after the funeral but finds a way to begin healing thanks to sound (and often hilarious) advice from her writing friend Caleb (Max Gill) with a delightful running joke about messaging and emojis never getting old. Malia and her father appear to grow apart after Jennifer’s death, portrayed by fine physical acting from Cornwall and Rose-Li, and the moments of anger and cruelty hit hard, but also ring true. As Malia and her father begin to find common ground and accept that they have a long way to go, Willow’s story gets wrapped up and Willow risks leaving the mountain. This may seem simplistic, but Willow’s story is supposed to have been written by a teenager, and this is an easily accessible representation of Malia’s feelings – and Bulleyment and Chitticks are absolutely fabulous.

Stewart J. Charlesworth’s pastel-coloured set – a representation of wings made from hundreds of sheets of writing paper – and the bright costumes may lull you into thinking that this is a schmaltzy show for children, but the emotional heart is much more sophisticated. Holmes and Zegree have written a beautiful story about loss, grief and how there is no Hero’s Journey guidebook to follow in real life. The songs are fantastic, with the title song reprised many times to great effect as an inspirational/celebratory mantra. There is teenage attitude and snark scattered throughout the show and Holmes and Zegree highlight the dramatic egocentricity of teens in the fabulous song The Worst. Under Christian Durham’s assured direction, the incredible cast soar. Max Gill is a comic wonder, winning the audience with their facial reactions before uttering a word and providing a bucketful of heart when Malia is struggling, and Keala Settle is as brilliant as you would expect – with vocals that effortlessly convey the pain of her character, and her songs with Robyn Rose-Li are the highlights of the show. Rose-Li’s performance is wonderful – full of emotion and fragility – and that voice!

Full of heart and hope, Fly More Than You Fall is a touching and insightful musical, beautifully staged and performed by a stellar cast. Unmissable.

Theatr Clwyd to open with a tick, tick… BOOM!

Theatr Clwyd’s Artistic Director, Kate Wasserberg has announced an explosive opening season for their newly re-developed building

Following its major redevelopment Theatr Clwyd will re-open in 2025 with a new production of tick, tick…BOOM! Directed by Kate Wasserberg, Jonathan Larson’s smash hit musical comes hot on the heels of her West End production of Boys From the Blackstuff. The opening production will be followed by On Wednesdays We Wear Pink, a piece created and performed by Theatr Clwyd’s young people, the season will also include Alan Ayckbourn’s darkly comic thriller Snake in the Grass and Welsh playwright Chris Ashworth-Bennion’s The Red Rogue of Bala.

Artistic Director Kate Wasserberg said:

“This is a watershed moment for Theatr Clwyd and an absolute honour for me as Artistic Director. I am delighted to open this state-of-the-art building with a season that showcases the extraordinary wealth and diversity of talent to be found in Wales. This season reflects our communities and invites audiences back home to us, whatever your taste. We have musicals, comedies, thrillers, new takes on Welsh classics and our iconic pantomime as well as new work in the Welsh language in Wrexham.”

The opening show will be the hit musical tick, tick…BOOM! (2 Jun-28 Jun) by Jonathan Larson, the visionary creator of the cult-classic RENT. Kate Wasserberg, who has directed at the National Theatre and in the West End, directs this musical about the exciting mess of being young, chasing your dreams and reaching for greatness.

On Wednesdays We Wear Pink will be a joyous exploration of fashion and identity throughout history. Created and performed by young people working with a professional creative team, the show will be directed by Theatr Clwyd’s Gwennan Mair.

In the summer, Theatr Clwyd will once again partner with Theatr Genedlaethol Cymru, Wales’ National Welsh language theatre company. Four new short plays about the North Wales experience will be commissioned and performed in Welsh at the National Eisteddfod in Wrexham.

Snake in the Grass (15 Sep-4 Oct) is Alan Ayckbourn’s darkly comic thriller about family, secrets and murder. Produced with the Octagon Theatre, Bolton, the show will be directed by Wales’ Francesca Goodridge.

Welsh writer Chris Ashworth-Bennion’s The Red Rogue of Bala (3 Nov-22 Nov) will have its world premiere. The hilarious, fast-paced drama set in the heart of Denbighshire is based on notorious jailbreaker, poacher and thief, Coch Bach y Bala. Directing this show is Wales’ Dan Jones, Artistic Director of The Other Room, Cardiff.

Also announced in 2026 and beyond is a new production of Under Milk Wood, Dylan Thomas’ greatest work, created as part of Craidd, a ground-breaking project improving mainstream theatre representation for and with Deaf, disabled and neurodivergent people.

Theatr Clwyd and Chichester Festival Theatre will stage Emily White’s award-winning play about climate change and family in West Wales; Welsh writer Emily Burnett will premiere her hilarious family drama and Nia Morais will write a new take on a Victorian gothic classic. William Shakespeare’s Twelfth Night will be directed by Juliette Manon as a glorious celebration of queer culture.

Theatr Clwyd’s redevelopment is one of Wales’ most culturally significant projects. The transformative project will deliver a much-improved visitor experience, dedicated spaces for community and engagement programmes and enhanced income-generating and world class theatre making facilities and all within a greener, more efficient building, safeguarding high-quality cultural experiences in North Wales for current and future generations.

Selected performances will go on sale this year. Theatr Clwyd members will receive priority booking from 28 October. Booking opens to the public from 11 November. To book, visit Theatr Clwyd’s website (www.theatrclwyd.com) or the box office on 01352 344101.

DOM HARTLEY-HARRIS JOINS ALL STAR CAST OF
MOZART: HER STORY – THE NEW MUSICAL

BROADWAY & WEST END STARS HEADLINE
PREMIERE PERFORMANCES AT THEATRE ROYAL DRURY LANE
SATURDAY 16 & SUNDAY 17 NOVEMBER 2024:

 Gabrielle Brooks (Get Up! Stand Up! The Bob Marley Musical),
Tyrone Huntley (Hello, Dolly!),
Laura Pitt-Pulford (Standing at the Sky’s Edge),
with Anthony Rapp (Rent),
Vinny Coyle (Phantom of the Opera), Yvette Gonzalez-Nacer (Hadestown),
Emily Squibb (Matilda The Musical).

Tickets are on sale: www.lwtheatres.co.uk/whats-on/mozart-her-story/

Thursday 24 October 2024, London: Producer Tegan Summer is delighted to announce Dom Hartley-Harris joins the all-star cast of Mozart: Her Story – The New Musical assembling at Theatre Royal Drury Lane for two special performances on Saturday 16 and Sunday 17 November 2024. This brand new musical, based on the life of Mozart’s sister, Nan, marries Mozart’s classics with over twenty contemporary original compositions by Tegan Summer (Book & Lyrics) & Gregory Nabours (Music & Additional Lyrics).

Dom Hartley-Harris whose recent theatre credits include George Washington in Hamilton (Victoria Palace), Preacher in Bonnie & Clyde (Garrick Theatre), Curtis Taylor Jr in Dreamgirls (UK Tour) and Collins in RENT (Hope Mill Theatre) will take on the role of Leopold Mozart – Wolfgang Amadeus and Nan Mozart’s father.

Dom joins the previously announced cast of Gabrielle Brooks (Get Up! Stand Up! The Bob Marley Musical, Shadow and Bone) as Nan Mozart, Tyrone Huntley (Hello, Dolly!, Dreamgirls) as Wolfgang Amadeus Mozart,withAnthony Rapp (Rent, Star Trek: Discovery) as Count Franz von Walsegg, Laura Pitt-Pulford (Standing at the Sky’s Edge, Sunset Boulevard) as Anna Maria Mozart, Vinny Coyle (Phantom of the Opera, Follies) as Johann Baptist zu Sonnenburg, Yvette Gonzalez-Nacer (OBC Hadestown, In the Heights) as Constanze Weber, and Emily Squibb (Matilda The Musical, Beauty and the Beast) as Karoline von Walsegg / Cover Nan.

The ensemble cast are completed by Emily Panes, Elisabeth Snegir, Daisie Mariella, Jordan Fox, Harry Chandler, Bethaney Wellings-Davies, Evie-Leigh Savage, Jacob Wye, Larissa Gerske, Maxfield Haynes, Addison Ector and Charlotte Edmonds.

Dom Hartley-Harris said:
“I am incredibly excited to be part of this amazing team, both those in the cast and creatively. The Rock/Classical fusion seems so unique to me. I feel privileged to have the opportunity to help tell this story, one that carries themes that remain important today.”

Tegan Summer (Aspects of Love, For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy) – Lead Producer, Book Writer, Lyricist added:

“Dom is a wonderful, dedicated talent; I look forward to him breathing new life into our patriarch, Leopold Mozart.”

“I am delighted to bring Mozart: Her Story – The New Musical to the West End stage and particularly thrilled to be presenting an original piece of musical theatre. The show reflects socially-relevant themes of female empowerment and inclusion, and is in the safe hands of our phenomenally-talented and passionate cast.”

Joining Tegan and Gregory on the creative team are Stephanie Klemons (Director) Colette Freedman (Dramaturgy), Dwight Roden & Desmond Richardson founders of Complexions Contemporary Ballet (Choreography), Andy Walmsley (Scenic Designer), Christine Darch (Costume Design), Davidè Torchio (Hair) Prema Mehta (Lighting Design), Chris Whybrow (Sound Design), and Jill Green Casting (Jill Green & Associates Olivia Laydon and Tom Shiels). 

A multi-genre musical with a dominant rock classical fusion.

Based on the life of one of the greatest composers of all time, Mozart: Her Story – The New Musical, shines a unique light on a classic story told through the eyes of Nan, Wolfgang’s rebellious sister, who attempts to break through the misogynistic confines of the era with her courage and prodigious genius.

The woman in the shadows, behind the man in the sun.

Wolfgang’s sister, Nan Mozart, is a brilliant composer who struggles to be seen and heard in the male-dominated 18th century Court. When the young virtuosa, who is arguably more talented than her brother, is silenced and banned from all artistic endeavours, she rebels. In this untold story of the greatest composer of all time, his insatiable sibling and conflicted father embark on a journey of love, hate, tragedy, and redemption.

A Contemporary Story
Taken From History
Inspired By True Events

Mozart: Her Story – The New Musical is produced by Tegan Summer Theatricals with General Management by Anthology Theatre Productions.

Cambridge Arts Theatre, Cambridge – until Saturday 26^th October 2024

Reviewed by Steph Lott

5*****

Lindsay Posner’s haunting new production of George Orwell’s ‘1984‘ at the Cambridge Arts Theatre proves that this dystopian masterpiece has lost none of its power to disturb and provoke. In fact, watching this adaptation in our current climate of surveillance technology and information manipulation makes it feel more relevant than ever.

From the opening moments, Justin Nardella’s ingenious set design creates an atmosphere of paranoid claustrophobia. The clever integration of video elements and pre-recorded footage serves to blur the lines between reality and manipulation – a central theme of Orwell’s work. Nardella’s costumes effectively establish the grim uniformity of Oceania while allowing enough individual character to remind us of the humanity being suppressed.

Keith Allen brings a chilling authority to O’Brien, making the character’s false warmth all the more unsettling when it gives way to cold brutality. His performance in the notorious Room 101 sequences is particularly powerful – so much so that several audience members felt compelled to leave during these scenes. Indeed, the production might have benefited from trigger warnings, given the visceral impact of these moments.

Mark Quarterly delivers a compelling portrayal of Winston Smith, capturing both the character’s furtive rebellion and his fundamental vulnerability. His journey from quiet defiance to complete psychological destruction is masterfully rendered. Eleanor Wyld’s Julia provides a perfect counterpoint as his lover and fellow rebel, bringing a vital energy to their forbidden romance that makes their eventual betrayal all the more devastating.

David Birrell deserves special mention for his portrayal of Parsons. His portrayal of the earnest and naïve Parsons highlights the tragedy of a man who has so thoroughly internalized the Party’s doctrine and yet is, like everyone else, ultimately betrayed and destroyed.

The production’s use of multimedia elements is particularly effective, creating a sense of constant surveillance and exposure, while also questioning the nature of historical truth – a theme that resonates strongly in our era of “fake news” and digital manipulation. The integration of camera work and projected footage serves both to disorientate the audience and to underscore the ways in which reality can be manufactured and controlled.

Posner’s direction maintains a relentless tension throughout, gradually tightening the screws until the audience feels almost as trapped as Winston himself. The claustrophobic dread builds incrementally, making the final scenes all the more impactful for their careful preparation.

While some might question the need for another adaptation of ‘1984‘, this production proves that Orwell’s vision remains disturbingly prescient. By emphasizing the human cost of totalitarianism through strong performances and innovative staging, it brings fresh urgency to this familiar warning about the fragility of truth and freedom.

This is not comfortable viewing – nor should it be. It’s a production that will leave you very uneasy, questioning not only the nature of truth and reality but also how easily both can be manipulated by those in power. In an age of increasing surveillance and information control, this timely revival serves as a powerful reminder of why Orwell’s cautionary tale continues to resonate.

Lyceum Theatre, Sheffield – until Saturday 26th October 2024

Review by Sharon Farley

5*****

Written by multi-award winning French playwright and novelist, Yasmina Reza, 30 years ago, ART remains fiercely relevant even today. It explores the relationship between three friends, Yvan (Seann Walsh), Serge (Chris Harper), and Marc (Aden Gillett), which becomes hilariously strained through differing opinions over a painting. The masterful translation from the original French by playwright and screenwriter Christopher Hampton (When Did You Last See My Mother, Tartuffe, A Dangerous Method) ensures that the comedy sparkles with quintessentially British humour and has won Best Comedy prizes from Olivier, Tony, and Moliere Awards.

Under the excellent direction of Iqbal Khan (Birmingham Rep, Box Clever Theatre Company, RSC) we see the drama unfold as Serge reveals his latest purchase – at great expense – of an original artwork that is almost entirely white. On viewing it, Marc’s traditionalist sensibilities are triggered into an instantaneous and rather blunt derision of the piece. Whilst he is astounded that his dear friend would pay such a high price for it, his wrath is primarily ignited by the language Serge employs in defence of his prized possession when he throws the word ‘deconstruction’ into his description of the white canvas, and Marc makes no effort to mask his simmering contempt. Serge is understandably insulted by this response and a bitter argument ensues. Gillett’s intense performance brilliantly portrays the raw anger we see expressed by many struggling to accept contemporary views, as though the opinion of others is a personal attack on their very being. He is visibly enraged to his core. Gillett has a long history in theatre, touring the world with award-winning performances (An Inspector Calls, A Midsummer Night’s Dream), as well as TV and film roles (Brexit – The Uncivil War, The Crown, The Foreigner), so it’s no surprise his portrayal of Marc is so convincing here. His character has enjoyed a 15 year friendship with Serge, who considers Marc his mentor. This relationship is at the root of the conflict, as Marc cannot accept that his pragmatic guidance should be sidelined for what he considers a pretentious flight into the indulgence of valuing art not for what it is, but for whatever lofty position fashionable opinion elevates it to be.

Marc carries his side of the argument to Yvan’s workplace. This first view of Yvan immediately demonstrates his chaotic but comical nature and his preoccupation with the complex arrangements for his upcoming wedding, an instantly relatable problem. Marc recounts his visit to Serge and divulges his negative opinion of the new painting. Yvan further adds to Marc’s irritation by showing more interest in public opinion of the artist than the quality of the piece. Their conversation raises the question of the purpose of art: should it be appraised for the joy it brings or its function? Their opposing views illustrate the dichotomy between a technical perspective, from Marc as an aeronautical engineer, and an aesthetic evaluation, from Yvan as a textiles designer. We are treated to other reflections of the art world in this production through the Mondrianesque set and chiaroscuro inspired lighting employed to highlight the characters’ internal monologues. When the two reach some common ground, Marc prompts Yvan to go and see the painting, now considering Yvan to be an ally and believing he will be as derisory of it as himself. Serge displays the painting for Yvan with ceremonial grandeur, leading to a concentrated but non committal review from Yvan. His lack of strong opinion on the piece allows Serge to open up and accept the absurdity of the high price paid for it, thus cleverly diffusing any tension that might have arisen. This exchange reveals Yvan as a character adept at holding the middle ground, who places a higher value on his friendships than the righteousness of his opinion.

The casting of Seann Walsh (Live at the Apollo, 8 Out of 10 Cats, The Bystanders) in this role is nothing short of inspired. Anyone familiar with his deeply personal stand up shows, ‘Kiss’ and ‘Seann Walsh is Dead, Happy Now?’, will recognise the desire for acceptance reflected in the part of Yvan. Though relatively new to theatre performance, Walsh takes to this role like a duck to water.

All three characters finally come together in an explosive scene doused in elements of duplicity, betrayal, intolerance, and insult. In this acrimonious exchange, Yvan finds himself desperately trying to diffuse the situation and bring his friends back together, yet ending up bearing the brunt of their anger. The veils are drawn back on where each of them sees themselves within the friendship, and how they are seen by each other. Serge, despite being the progressive voice of reason, is drawn into moving the argument from its source into aspects of the characters’ lives outside of their friendship, disparaging – to great comical effect – the behaviour of Marc’s partner. Here, we see Harper (Call the Midwife, Coronation Street, The War Below) in a more comic light; until now, his character had appeared the most temperate and mature of the three, yet this cool sophistication still breaks down into derisive mimicry when under pressure.

Though the conflict de-escalates and some calm is resumed, we cannot help but feel that the relationships have irrevocably changed. Fortunately, the wonderfully comic writing throughout the performance cuts through the weight of the multi-layered subject matter it encapsulates. The nature of the characters, the rapid escalation of the conflict, and the descent into personal attacks inevitably reflects the divisive themes evident in today’s society that have dominated politics and social media over recent years.

This production and its marvellous casting cannot fail to spawn endless conversation on the fragility of friendship, family, and societal cohesion, as well as providing more than a few belly laughs. Go, you won’t be disappointed.

Criterion Theatre – until 23 November 2024

Reviewed by Claire Roderick

4****

Jamie Allan becomes the third UK magician in 40 years to get an extended solo run in the West End with his enchanting and endearing show.

Allan’s declaration that there are two types of people that go to magic shows: the sceptics who are trying their hardest to work out how the illusions are done, and the dreamers who are there to revel in the wonder of the illusions.

Allan’s show is a simple and beautiful concept: he tells the story of his life in magic – from his first Fisher Price magic set to performing around the world – with gentle humour and an emotional weight that sweeps the audience along and wakes the dreamer in the most determined sceptics.

Allan’s show isn’t full of huge set piece illusions, rather his story telling builds around exquisitely performed closeup magic and audience involvement tricks that draw gasps each time. His beautiful tribute to his mother is on a bigger scale and the climax of the show – a determinedly old-school card illusion and his story about that trick – is stunning.

The pacing of the show may not please everyone as nostalgic stories about films and toys weave together between illusions, but this gentle storytelling allows the magic to hit with more impact and has a magnificent final payoff. On press night, one of Allan’s most famous technological tricks fell victim to gremlins, but this was brushed off with charm and good humour. The show’s design is gorgeous, transporting the audience through time and place under Jonathan Goodwin’s assured direction.

A nostalgic and emotional show full of brilliant illusions – Jamie Allan’s Amaze is aptly named. A wonderful chance to recapture the joy and wonder of childhood. You will leave a Dreamer!

Aylesbury Waterside Theatre – until Sat 26th October 2024

Reviewed by Rachel Clark

4***

Lots of laughter was brought by this production of Cluedo 2 – The Next Chapter and you don’t need to have seen the first Cludeo, I haven’t. Written by Maurice Gran and Laurence Marks – winners in 1993 of UK television top writers award – they jointly won the British Academy Writers Award, they have worked on many television and theatre productions together. This stage production was directed by Mark Bell best known for directing the The Play That Goes Wrong, which is now in its 10th year which has also been a great success. The production is based on the board game, the the set is based on the actual board and the board game characters have come to life.

The audience were laughing all the way through and even more so in the second half, this production not only has the sense of humour of the witty one liners but but by way they acted, doing the odd freeze/pause of the characters. Mrs White played by Dawn Buckland was very funny and stood out along with Wadsworth that was apparently playing the part that he was an actor and arrived at the manor to take part in a commercial for Gin, but he was often mistaken as a butler. Mrs White was a housemaid that knew everything that was going on in the manor house and didn’t miss a trick, or did she? Ellie Leach know for her win of Strictly Come Dancing in 2023 and her part in Coronation Street, Ellie plays Miss Scarlet, this play marks her stage debut and she entertained us throughout. Jason Durr from many a TV show, film and Theatre including TV Inspector Morse and Midsummer Murders played Colonel Mustard brilliantly. Liam Horrigan played Mr Black and other parts including the hilarious Detective whom was oblivious to the murders that had taken place.

This is a great slap stick comedy lots of humour and witty one liners , but you would only want to see it the once I expect once you know who the murderer is. The basic story is Mr Black is married to Mrs Peacock and Mr Black is murdered, but who did it? the wife? Or Miss Scarlet who came in the do the interior design on the property, or his manager Colonel Mustard , not forgetting Rev Green and Professor Plum , Mrs White or Wadsworth, but then we also have Mr Grey who appears on the scene.

I thoroughly enjoyed it, but more so the second half it seemed funnier and had more content. Glad I saw it and would definitely go to a Cludeo 3 if there is on in the pipeline.

YVONNE ARNAUD THEATRE, GUILDFORD – UNTIL 26 OCTOBER 2024

REVIEWED BY REBECCA SCOTT

4****

It’s time to head to the Neapolitan Riviera in post war Italy, which starts at the climax of a ferocious argument between Italian couple Filumena (Felicity Kendal) and her partner Domenico Soriano (Matthew Kelly). From the moment Domenico steps onto the stage, you are invited to witness their web of deceit, lies and scheming ways.

The play is based on a 1946 play, originally written by Eduardo De Filippo and cleverly adapted by Keith Waterhouse and Willis Hall.

Act 1 focusses on Domenico being duped into marriage by Filumena, who he met in a brothel 35 years previous. Dominico’s pride has been wounded, and his plans to marry the young and vivacious Diana (Jodie Steele) are thwarted. Kendal exuded radiance in this role, and it soon became apparent that Filumena’s reasons for marrying Domenico are not due to vengeance, but of maternal loyalty to the three sons she gave birth to during her life as a prostitute. Now Filumena wants to marry Domenico to legitimise them and ensure their financial security. But there’s also a catch! One of the boys (all now in their twenties) is the son of Domenico – but which one?

Act 2 was much shorter than I expected and had more added humour with Domenico trying to work out which of the 3 sons is his. But Filumena remains defiant, because all children ‘are created equal’ and therefore her children will be treated fairly. This infuriates Domenico as he tries to play detective and detect genetic similarities in the young men – so do they finally get legally wed? Do we find out who is Domenico’s actual son? You’ll have to go watch and see!

The entire play is set in Domenico’s house, which is resplendent of the Italian era. However, as a viewer the setting became a little lacklustre as the scene remained unchanged throughout. The two main protagonists have a lot of dialogue, which at times is very lengthy, but also jaw dropping as to how they remember so many words and deliver them in the Italian flair! Kendal and Kelly have strong chemistry and you can tell this from the moment they both enter the stage.

The supporting cast are excellent and add much needed humour at times. Umberto (Gavin Fowler), Ricardo (Fabrizio Santino) and Micele (George Banks) each have a chance to have their moment on stage and you enjoy watching their sibling relationships develop. I also applaud the maid Lucia (Sarah Twomey) who appeared to light up the stage with her flirtatious behaviour.

This play is only visiting a few cities, so get your tickets now!