Harold Pinter Theatre, London – until 15th June 2024
Reviewed by Celia Armand Smith
4****
It’s the summer of 1976 in Blackpool and the heat is all consuming. Jez Butterworth’s newest play directed by Sam Mendes, tells the story of four sisters returning to their childhood home to say goodbye to their dying mother. The Hills of California sees sisters Jill (Helena Wilson) who stayed behind to look after their mother and missed out on life, Ruby (Ophelia Lovibond) who is a bored housewife prone to panic attacks, and Gloria (Leanne Best) who arrives in a sweaty and sweary whirlwind with her dopey husband and kids, gather at the family home. They are awaiting the arrival of Joan (Laura Donnelly), the glamorous oldest sister who they haven’t seen or heard from in twenty years after she left in hurry for America despite being their mother’s supposed favourite. For the first two acts, her absence is huge and consuming.
The entire play takes place in the family’s struggling guesthouse, Sea View (with no view of the sea). At the centre of Rob Howell’s stunning set is a huge imposing staircase that leads to several rooms named after American states, such as the glamorous far away lands of Minnesota and Alaska. The set rotates and the stairs swing round to reveal the sisters as children in the 1950s, singing in the kitchen with their mother, Veronica (also played by Laura Donnelly). Veronica is an ambitious stage mother who is pushing her children towards stardom with an Andrews Sisters style group whether they are along for the ride or not. The close harmonies and dancing are beautifully executed and they pay brilliant homage to the sister groups of the 40s and 50s.
Things take an inevitable turn when a slimy American agent comes to the house to see the girls perform at the behest of a local comic played by Bryan Dick. Shaun Dooley and Richard Lumsden round out the cast with a tragic comedy and musical stylings, all the male cast members playing characters in the past and present. The men in the play are all kind and hapless or creeps, there for comic effect or to be the receiving end of a sharp tongue.
This is a play with women at its centre about family, grief, and sacrifice. It is however laugh out loud funny with Ophelia Lovibond and Leanne Best delivering some of the best lines in the piece, and the singing from both the younger and older casts is achingly beautiful with perfect harmonies.
Never faltering in its ability to hold the audience’s attention, this ensemble piece from is both captivating and heartbreaking, and you would expect nothing less from Jez Butterworth. In the final moments of The Hills of California, the sisters are unified by song, and all the past traumas seem to dissipate and a peace finally falls over the house.
The Rose Theatre brings you this beautiful production that is a moving and compelling story, which has so much to offer. Based on the novel by Onjali Q. Rauf, which tells the story of Ahmet (Farshid Rokey), a refugee, that all begins with an empty chair at the back of the class. With no one knowing his story the rest of his classmates become eager to understand where he’s come from and what he’s been through.
Whilst watching the shy and unsure character that stands before them, telling his story through pictures, as he cannot speak English, a group of friends, Alexa (Sasha Desouza-Willock), Tom (Gordon Millar), Josie (Petra Joan-Athene) and Michael (Abdul-Malik Janneh) realise just how much this scared and unsure boy has been through.
The friends begin to formulate a plan, calling themselves the A Team, to help Ahmet find his family, who he has lost through his tumultuous journey.
During his time at his new school, he is subjected to bullying by certain individuals; not only a fellow student Brendan (Joe Mcnamara), but by a teacher Mr Irons (Zoe Zak) as well. With the support of the “A Team” and the head teacher, Mrs Kahn (Priya Davdra) Ahmet and his friends learn that Kindness is the most powerful thing that anyone can offer.
Throughout this production the cast offered many funny moments, with much laughter, providing light relief to the more serious moments and themes of the story. The cast had such a strong connection, which was amazing to watch. I can truly say that this production made me laugh, gave me goosepimples and offered such emotion I even cried, that when I looked around, the whole audience was experiencing the same.
This is definitely a production that is not to be missed, truly outstanding!
Hull Truck Theatre – 10th February 2024 and 12th February 2024
Reviewed by Dawn Bennett
5*****
A Great Pirate Adventure is part of Hull Trucks half term activities. Aimed at children between the ages of 3 and 6 years old this is a great chance to get young children involved in, and watch, theatre. This is the first review of a show I have done that had a craft session is included in the ticket price! The children involved made a pirate hat, eye patch and hook with help from the adults they brought with them and HEY and Hull Truck volunteers. A lot of the parents/guardians I spoke to said they had attended things at Hull Truck before that had a craft session related to the show they were seeing and had already booked for the shows that were being done during the Easter holidays. A lot also said how it helped children understand how a theatre worked and how to sit and watch a show and what happened during one.
After the 45 minutes craft session the actors (Sophie Clay and Jack Fielding) came out, introduced themselves to audience and took us into Hull Trucks Stage 1 auditorium. The children sat on the stage and the rest of us behind them and Sophie and Jack began the story of A Great Pirate Adventure.
Sophie had lots of jobs and she’d been sacked from all of them, they got the children to tell them what jobs they thought she’d done and why she had been sacked … it turns out the children were right, she wasn’t very good at any of the jobs. She meets Mr. Be-ard (Jack) who asks her to help him find something he’s lost and this really looks like a treasure map and he does look like a pirate! The actors really get the children involved, from walking the plank, wearing their eye patches and hats and when a parrot and a mermaid appeared the children absolutely loved it. After visiting an island Sophie, with the help of the children, find the treasure and then she realises that Mr. Be-ard isn’t her friend and neighbour but Captain Bad Beard the pirate!! It turns out that the captain doesn’t want to be a pirate anymore…he wants to retire and so he asks Sophie to be the pirate captain and she does!
This is a great show for the younger members of the theatre audience, a great introduction to theatre and a craft session thrown in. It is pitched at just the right level, isn’t too long and Sophie and Jack were brilliant in the way they interacted with the audience And I don’t know who enjoyed it more, me, the children or the adults that they brought with them!
Mayflower Theatre, Southampton – until 10 February 2024
Reviewed by Lorna Hancock
5*****
Birmingham Royal Ballet’s beautiful production was created by Sir Peter Wright, the genius behind the Company’s famous The Nutcracker and Swan Lake.
As to be expected the ballet follows the classic and well known tale. A beautiful princess falling into a deep sleep, after being cursed by a wicked fairy and pricking her finger, and the curse can only be broken by true love’s kiss. The Sleeping Beauty has been delighting audiences for well over a hundred years, adding entrancing ballet to this favourite childhood story. Set to Tchaikovsky’s inspiring music, magnificently played live by the acclaimed Royal Ballet Sinfonia.
I brought my ten year old aspiring ballerina along to help me with this review, and I have to say she was lost for words, in awe of the captivating dancing. We both said that Princess Aurora (Yu Kurihara) reminded us of a most beautiful music box ballerina. The delicate and perfect way she held the most difficult positions, was absolutely stunning to watch, whilst wearing the most exquisite tutu, we couldn’t take our eyes off of her.
I would like to add note aside of the performance, on the subject of taking children to a ballet. I have taken my daughters to a fair few ballets in the past, and I have never come across such a brilliant programme before. Apart from containing so much interesting information, and wonderful photos, I absolutely loved the way it had a simplified cartoon breakdown of the storyline for children. I’ve haven’t seen this before and thought the idea was genius!
Now returning to the performance itself, it is so hard to find the words to describe such a remarkable performance. The set design was simple yet superb and gave the grand illusion of splendour. The costume department have also done a fabulous job, the costumes were all stunning.
The company as a whole performed charmingly, from the flawless pointe work, to the traditional mime. We really loved the cleverly portrayed jollity between the hunting party, the bewitching dream sequence and we enjoyed discovering the characteristics of each fairy through their expressive dance.
A delightful performance leading up to a spectacle of a finale glittering with gold.
Kings Theatre, Portsmouth – Thursday 8th February 2023
Reviewed by Sally Lumley
5*****
For one night only, showbiz royalty arrived in Portsmouth last night as Kerry Ellis and Louise Dearman took to the stage at the Kings theatre in A Wicked Night. This was a stripped back showcase of exceptional talent, with some stories and laughs along the way.
Both singers are leading ladies in their own right: on the West End, with numerous studio albums and as established concert performers. However, what might not be so well known is that they first met back in college 30 years ago and have remained friends ever since. The relaxed mood, with chat show style interviews led by the Kings Theatre artistic director Jack Edwards peppered throughout, allowed the audience to gain some personal insights from both performers about both their careers and their friendship. Each song was given a little extra poignancy, as we heard why it was chosen. Some particularly touching moments were when Louise Dearman sang Rainbow Connection from the Muppets, which she had recorded on an album of lullabies after her daughter was born, and Kerry Ellis giving a beautiful rendition of Alfie, a song that shares the name of her first born. They shared some of the challenges of a career in music, such as auditions, and juggling performing with motherhood, as well as some career highlights that included performing in front of the Royal Family, on international tours, and at the recent Festival of Remembrance.
With musical director Craig Adams accompanying the singers on grand piano, and minimal staging, it gave space for the vocals to shine. And wow, they sure did shine! This truly was a masterclass, showing exactly why both women have achieved such success. With a mix of solos and duets, and songs from musicals to Cilla Black, there was something for everyone. Using local choirs – the Resonate Show Choir and the Kings Theatre Arts Academy Choir – for some of the numbers added an extra dimension, with the young soloists bringing a lump to everyone’s throat in You Will Be Found. Particular highlights for me were the Garland/Babs medley and of course hearing Defying Gravity sung by not one, but two Elphabas was a real treat!
Kudos to Kings Theatre for having the vision to bring this show to Portsmouth. As was pointed out, it’s not every day we get two West End leading ladies in this neck of the woods. Judging by the reception last night, there is certainly an audience for more of the same. It felt like a treat to be included in what felt like a special night, where a genuine friendship and a love of performing shone through.
Candace Bushnell, the writer of Sex and the City, which chronicled her life in New York as a columnist, gracefully and confidently emerges onto the stage dressed in all red, sporting a mini skirt, and looking quite fine at age 65. She is an intriguing figure and an example of a true feminist to her fans.
The gathering consists of devotees of Sex and the City, the iconic comedy-drama that chronicled the lives of Carrie Bradshaw and her group of single friends in the bustling streets of Manhattan. The set is a boudoir decorated with expensive heels of all shapes. Every time the subject of shoes comes up, a light from above shines down accompanied by oohs and aahs from her captivated, predominantly female audience.
In her opening segment, she promises to unveil the scandalous secrets of Mr. Big, but the true takeaway is that she herself is “big,” or bigger than big.
A game show motif follows – a game of “is it real or not real” – asking her audience to guess how it all might have happened in her real life by shouting “real” or “not real” when she prompts them with a question.
While the TV series Sex and the City undoubtedly left its mark on women’s lives and challenged societal norms, this staged spectacle feels a bit dated as she continuously reminisces about a bygone era that could only really appeal to women of a certain age. Yet, the allure remains, perhaps still attracting a new generation of fans.
In retelling her story, Bushnell’s life has not been without struggle, from her father’s crass remarks to the unsettling encounters she faced as a young woman in various relationships, particularly with older men. She notifies her audience that she dated Gordon Parks at age 18 when he was 65. However, she chooses to emphasize the joys of a single, child-free life, defying the expectations that once confined women of her generation.
Bushnell presents herself as a feminist icon – her stories carry a sense of self-assurance that resonates with her audience. She reminds us of the barriers women faced when she first arrived in New York, such as the inability to obtain credit cards. One of the lessons she imparts is the importance of owning one’s living situation, even if it means indulging in luxuries like a shoe closet filled with Manolo Blahniks.
Her narrative encompasses the elements her fans crave – messages about independent women, heartfelt tributes to female friendships, and candid discussions about aging and menopause. However, it is worth noting that her performance in the first half of the event was not without its flaws. She displayed a rather childlike and adolescent demeanor. Fortunately, she showed much improvement in the second half when she gets candid about her struggles with aging and divorce. A true icon, her fans will continuously rush to throw flowers at her feet. She can do no wrong in their eyes, even though her stories might feel a bit superficial and dated.
MOST FANTASMAGORICAL MUSICAL OF ALL TIME CHITTY CHITTY BANG BANG
OPENING AT
MAYFLOWER THEATRE, SOUTHAMPTON
ON 30 APRIL 2024 AHEAD OF A UK TOUR
David Ian for Crossroads Live is delighted to announce that Emmerdale star Liam Fox will play Grandpa Potts alongside Olivier-nominee Adam Garcia as Caractacus Potts in the new production of the most fantasmagorical musical of all time, CHITTY CHITTY BANG BANG. opening at Mayflower Theatre, Southampton on Tuesday30 April 2024 where it will play until 12 May 2024, before embarking on a UK tour. www.chittyontour.com Further casting to be announced soon.
Liam Fox is probably best known for playing the role of Dan Spencer in ITV’s Emmerdale, where he featured in more than a thousand episodes. His many other TV credits include Stephen Poliakoff’s Dancing on the Edge, Cold Feet, Coronation Street, Hollyoaks, Clocking Off, A Touch of Frost, Always and Everyone, At Home with the Braithwaites and Dinnerladies. His many theatre credits include The Collector and Tuesday’s Class, both at The Lowry Studio and Iron at Manchester’s Royal Exchange.
Adam Garcia recently received rave reviews as Julian Marsh in Curve and Sadler’s Wells hit production of 42nd Street. His musical theatre credits include Tony Manero in Saturday Night Fever and Bill Calhoun in Kiss Me, Kate, for which he received Olivier Award nominations for both roles. His other theatre credits include Fiyero in Wicked, The Artilleryman in The War of the Worlds and Damien Karras in The Exorcist. His film credits include Kenneth Branagh’s Death on the Nile and Murder on the Orient Express, Confessions of a Teenage Drama Queen, Coyote Ugly and Riding in Cars with Boys. Adam recently appeared as a finalist in the UK series of The Masked Dancer, finishing in second place.
Based on Ian Fleming’s timeless story for children and later made into the famous 1968 film, CHITTY CHITTY BANG BANG features the unforgettable songs by the Sherman Brothers including Toot Sweets, Hushabye Mountain, Truly Scrumptious and the Academy Award-nominated title song, Chitty Chitty Bang Bang.
This new production will be directed by Thom Southerland (Titanic, Parade), choreographed by Karen Bruce (BBC’s Strictly Come Dancing, The Bodyguard) with Set and Costume design by Morgan Large (Newsies, Joseph and the Technicolour Dreamcoat), Lighting design by Ben Cracknell, Sound design by GarethTucker, Musical Supervision by George Dyer (The Wizard of Oz, Annie, Billy Elliot) and casting by Debbie O’Brien.
In CHITTY CHITTY BANG BANG we meet absent-minded inventor Caractacus Potts who restores a broken-down old racing car with the help of his children Jemima and Jeremy. Soon the family discover the car has magical powers, and along with the delectable Truly Scrumptious, the family end up on a hilarious fantastical adventure to far off lands.
CHITTY CHITTY BANG BANG has Music and Lyrics by Richard M. Sherman and Robert B. Sherman, Music by Special Arrangement with Sony/ATV Publishing and is Adapted for the Stage by Jeremy Sams. Based on the MGM Motion Picture the Licensed Script is adapted by Ray Roderick. It was Originally produced by Eon Productions, Dana Broccoli, Frederick Zollo, Nicholas Paleologos, Jeffrey Sine, Miriam Productions and Michael Rose at The London Palladium.
This production is presented by permission of Music Theatre International.
UK Tour extended into 2024 due to phenomenal popular demand
“INGENIOUSLY CHAOTIC…IF YOU ARE LOOKING FOR A GOOD, HARD LAUGH AND A TOUCH OF ESCAPISM THEN THIS IS THE SHOW FOR YOU” ***** Theatre Weekly (August 2023)
Brendan Murphy is delighted to announce that the tour of Award Winning Buffy Revamped is to be extended yet again in 2024 due to its popularity at venues throughout the UK and Ireland and in Toronto and America. This hugely popular, award-winning show based lovingly on the iconic 90s TV show Buffy The Vampire Slayer has garnered critical acclaim across the board including for a second Edinburgh Festival Fringe season where it was recognised as the best-reviewed comedy show of the entire 2023 Fringe by The British Comedy Guide.
“FANGTASTICALLY GOOD!” ***** West End Best Friend (August 2023)
In this fast-paced new production we bring you the entire 144 episodes of the hit 90s TV show, Buffy the Vampire Slayer, as told through the eyes of the one person who knows it inside out… Spike.
Funny, satirical and bursting with 90s pop-culture references, it’s the perfect parody for Buffy aficionados and those who never enrolled at Sunnydale High alike.
“AN EXPERTLY EXECUTED DEEP-DIVE INTO SEVEN SEASONS OF A CULT CLASSIC.” ***** Fringe Biscuit (August 2023)
Brendan Murphy is a London based actor, improviser and comedian. He was nominated for the Spotlight Prize in 2008 and he has toured extensively across the US and Canada as part of the Olivier Award nominated Potted Potter. He also wrote the hit show FRIEND: The One With Gunther (www.OneWithGunther.com) which will tour alongside Buffy Revamped in 2024.
Other theatre credits include The Crown Dual (Edinburgh, Wilton’s Music Hall & US Tour), Twelfth Night (Orange Tree) and The Adventure (The Royal Exchange). Screen credits include Doctors (BBC), Broadchurch (ITV), Twin Thing (Sky Arts), SO Beano (Sky Kids) and Spiderman: Far From Home (Marvel Studios).
An experienced improviser, Brendan is a member of BBC Radio One’s BattleActs! and has been a guest player for Second City and Monkey Toast Players. He has written and performed several solo comedy shows including BAGMAN and Enter The Bagman and FRIEND (The One With Gunther) which won the award for Best Play in the World Wide Comedy Awards. The award-winning success of Buffy Revamped the following year (Darkchat Awards 2022: Best Comedy Performer and Best One-Person Show) has confirmed him as one of the country’s most talented young writer/performers with both critics and audiences.
“I ABSOLUTELY LOVED THIS SHOW!” ***** One4Review (August 2023)
Hamish MacDougall’s recent credits include The War of the Worlds (UK & USA tours); Project Dictator (New Diorama); Willy by William Andrews (Soho/Pleasance); Hammerhead by Joseph Morpurgo (Soho/ Southbank/ Pleasance/ tour and winner of The Brighton Comedy Award); Life and Rhymes by Abandoman (Udderbelly/ Soho/ Melbourne) and The 24 Hour Plays (Old Vic).
Cambridge Arts Theatre, Cambridge – until Saturday 10th February 2024
Reviewed by Steph Lott
5*****
A Gripping Thriller Unfolds in “Murder in the Dark” at Cambridge Arts Theatre
The allure of being scared is deeply rooted in our psychology and “Murder in the Dark,” a riveting horror penned by Torben Betts, delivers that, under the expert direction of Philip Franks. Set against the backdrop of a secluded country dwelling, Simon Kenny’s ingeniously crafted set transports the audience into a dark confusing world of suspense and impending doom. With standout performances by Susie Blake as Mrs. Bateman and Tom Chambers as Danny, this production delivers a captivating theatrical experience of horror that keeps viewers on the edge of their seats.
Philip Franks’ direction masterfully builds tension throughout the play, creating a sense of unease that permeates every scene. This is skilfully balanced with moments of comic relief, creating an atmosphere that keeps the audience guessing, with a gradual uncomfortable sense of “what exactly is going on?”. The result is a rollercoaster ride of suspense and intrigue that leaves the audience deliciously on edge.
Simon Kenny’s set design is an excellent backdrop for the atmospheric storytelling. There are shadows in all the right places. From the eerie dimness of the house interior to the allusions of what might be outside in the chilly darkness, Kenny’s set perfectly captures the mood of Betts’ suspenseful tale. Betts seamlessly blends suspense and dark humour and cleverly weaves a web of mystery, keeping the audience on the edge of their seats with unexpected twists and turns.
At the heart of “Murder in the Dark” are the compelling performances of Susie Blake as Mrs. Bateman and Tom Chambers as Danny. Blake brings an eerie comedic madness to her portrayal of the mysterious Mrs. Bateman, with an underlying sense of menace that keeps the audience guessing about her true intentions. Chambers, meanwhile, shines as the selfish and treacherous Danny, imbuing the character with increasing mania and a palpable intensity as the story unfolds.
In conclusion, “Murder in the Dark” at the Cambridge Arts Theatre is an eerie thrilling theatrical experience that captivates from beginning to end. Betts’ script is a masterclass in psychological suspense, keeping the audience guessing until the final curtain falls. This production is a must-see for those who relish an evening of thrilling suspense and dark twists.
GABRIELLA SILLS PRODUCTIONS AND JAMES SEABRIGHT IN ASSOCIATION WITH MARK GATISS PRESENT
BREEDING
RETURNING TO THE KING’S HEAD THEATRE FOLLOWING ACCLAIMED 2023 DEBUT
21 MARCH – 14 APRIL
‘We’re not the new normal. We’re the new fucking extraordinary.’
The King’s Head Theatre are thrilled to announce that BREEDING – a funny, moving, critically acclaimed drama about adopting as queer parents – will return with a new production for a four-week run, following its acclaimed world premiere at the King’s Head pub theatre in 2023 as part of Guest Artistic Director Tom Ratcliffe’s A Queer Interrogation season. Breeding, written by Barry McStay (Vespertilio) and directed by Ratcliffe (Fame Whore), will play from Thursday 21 March – Sunday 14 April with a press performance on Monday 25 March.
Zeb and Eoin have met, kissed, fallen in love, moved in, got married – what’s next?
Zeb will be Fun Daddy. Eoin will be Serious Daddy.
Beth’s job is to decide if they are “appropriate” Daddies at all.
Together they all navigate the precarious road to adoption and queer parenthood, forced to lay bare fears and secrets.
Writer Barry McStay, originally from Kildare in Ireland, said “Breeding is a story that I am passionate about sharing. It asks just how far you would go to have a family and depicts a new generation of queer people navigating the exhausting journey towards parenthood. The overwhelming reaction to the 2023 production demonstrated that the appetite is there to hear these domestic stories from a new, queer angle. The play is funny, messy, and moving, full of imperfect people trying to make perfect decisions. I was grateful to the King’s Head and Tom Ratcliffe for presenting the World Premiere and am delighted they are bringing this new production to their beautiful new theatre. With the UK becoming less and less safe for LGBTQ+ people, it is vital to support queer theatre and I am proud that even more people will now have the chance to hear Beth, Zeb and Eoin’s stories”.
Tom Ratcliffe said, “When I first read BreedingI knew I had to programme the show as part of my season at the Kings Head Theatre last year. I was drawn to it because Barry progresses the narrative of queer storytelling to reflect some of the challenges LGBT+ people may face today. I’m delighted that the play is getting the chance to be experienced again and it’s an absolute privilege to direct such a tender, provocative and moving piece of work.”
Associate Producer Mark Gatiss said, “I’m delighted that Barry’s terrific, funny and poignant play is being re-birthed at the new King’s Head where many more can experience its charm.”
Casting will be announced shortly.
Breeding will be the third show in the King’s Head’s new 200-seat purpose-built theatre in Islington Square, which opened in January 2024.
