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York Theatre Royal – until 11 November 2023

Reviewed by Michelle Richardson

4****

New Old Friends Theatre Company’s latest production, Crimes on Centre Court, is playing it’s last three show at York Theatre Royal. A whodunit, with a small cast of only four actors playing numerous roles. Kirsty Cox, Ben Thornton, Katriona Brown and Emile Clark work tirelessly to put on a fantastic show.

Whombledun Tennis Club is hosting its annual tennis tournament, when suddenly Lord Knows drops down dead, whilst eating strawberries and cream. It appears to be a natural death, but his son Hugh isn’t convinced and enlists the help of private detectives Perry and Penny Pink, not related, just partners. With Perry going undercover as a tennis player and Penny getting cosy with Hugh, more and more untimely deaths occur, leading to the question, whodunit and can the sleuth duo solve the mystery?

What first impressed me on entering the theatre was the scene set out on the stage, looked just what you would imagine a tennis club to look like. The set was used to brilliant effect, moving hedges, I’ll talk more about them later, three curtains that were in constant use, old-fashioned locker-room benches, that were wheeled in and out, and a scoreboard.

When we first meet the super talented cast, they are hedges, singing hedges at that. Dressed head to foot in their finest greenery they burst into song, very barbershop quartet. They are constantly flipping characters with speedy costume changes, as well as moving the set around seamlessly to change scenes. Each actor is given a chance to shine. Clark has a very animated face and delivers his posh Sir Hugh voice with aplomb. Special mention must also go to his curly wig, which grew and grew as the show went on. Brown’s expressions, especially as a hedge, were vibrant to match her glorious red hair. Cox delivered fabulous characterisation with all her roles, from the overlooked volunteer, to ace tennis player. Last, but certainly not least, is Thornton, I truly loved his physical comedy. His going downstairs, via stairs, escalator and finally lift was so funny and brilliant to watch. Not only did he act and sing, but he also threw a bit of rap in there too.

The standout scenes for me were the actual tennis, especially when in slow-mo. How they achieved these spectacles is so very imaginative and such a joy to watch. The alliterate wordplay used is truly mindboggling and stunning to listen to, I’m in awe.

This show is a fabulous whodunit comedy that is full of slapstick and laughter. I’m glad I got to see this show before it closes this weekend. I really enjoy this type of theatre and I will certainly keep a look out for New Old Friends in the future. More balls please!

Donmar Warehouse – until 2 December 2023

Reviewed by Claire Roderick

4****

Lynn Nottage’s stateside hit is full of damaged characters finding ways to survive the harsh reality of life after prison. Clyde (Gbemisola Ikumelo) runs the truck stop and doesn’t give a damn about the quality of the food; she just wants to make money to keep her “investors” happy. Unfortunately, one of the ex-cons she employs in the kitchen is on a quest to create the perfect sandwich. When Jason (Patrick Gibson) starts working in the kitchen he is baffled by the others’ attitudes to food preparation and clashes with everybody, ignoring their advice about handling both food and Clyde. But soon, Montrellous’s (Giles Terera) passion and calmness inspire him as well.

As the characters talk about their ruined lives, the cost of making one mistake is laid bare – Rafael (Sebastian Orozo) was high and Letitia (Ronkẹ Adékọluéjó) was desperate for money for her child’s medication. Montrellous and Jason aren’t as open with their history, but when they reveal why they went to prison it is obvious that none of these people deserve to be written off. Clyde has also served time but has wrapped herself in so much armour and anger that she cannot and will not let anybody close. The mind games she plays with the staff are cruel but hilarious to watch as she toys with Jason like a cat with a mouse as the rest, who have obviously been burned before, watch on helplessly. Ikumelo is brilliantly brittle as Clyde – bristling with anger, fear and frustration. Adékọluéjó and Orozo are heartbreakingly sweet as they flirt and Gibson shows the vulnerability and fear beneath Jason’s racist facial tattoos. Terera is a sandwich shaman, exuding a mystic aura that is almost hypnotic as he prepares the food and tries to prepare the others for life after prison. At first, this produces a few giggles, but it doesn’t take long for the audience to become enchanted too. Some of Montrellous’s wisdom and advice is a little hackneyed, but Terera’s delivery and presence give it weight. The camaraderie and encouragement the team have in the kitchen appears to be the only good things in their lives, and Clyde can’t understand why they are dreaming of better things, when they should be grateful for the scraps they have now. The conflict between the worldviews provides dark situations and fantastic comedy directed skilfully by Lynette Linton.

This hard-hitting but bittersweet comedy about second chances and sandwiches is simply delicious.

Southbank Centre – until 6 January 2024

Reviewed by Claire Roderick

4****

Drew McOnie’s new Nutcracker is a delightful treat that will warm your heart on these chilly winter nights. Transforming the café space in the Southbank Centre into an intimate jazz club, the experience is cosy and uplifting.

Tchaikovsky’s instantly recognisable melodies are reimagined by Cassie Kinoshi for a four-piece band with glorious effect – effortlessly transporting the audience between whimsical and sultry moments. Clara’s Christmas dreams become Clive’s in McOnie’s vision, and his dreams lead us on a journey of self-discovery and acceptance. When Clive’s work-stressed dad sees him playing with the Sugar Plum fairy doll, he replaces it with an action man, and Clive unhappily falls asleep. Replacing the injured Sam Salter, Mark Samaras is wonderful as Clive – completely convincing as a young boy comfortable in his own skin but craving acceptance from his father. In his dreams, Clive gets to dance with Sugar Plum (Patricia Zhou) until Action Man appears with his more macho posturing. Clive’s attempts to show Action Man the joy and freedom of just being himself are realised beautifully, as Amonik Melaco’s movements become softer and his steely glare transforms into an innocent open smile.

The nostalgic 1970’s tones of Clive’s home (vintage tins of Quality Street!) become a riot of colour as the parade of characters – inspired by a tray of brightly coloured drinks that Clive and Action Man taste – take their turns on the floor. Chanelle Anthony’s stunning lithe solo Is a highlight, with Tim Hodges and Rachel Muldoon nailing very different moods as a manically bouncy lemon, a sultry lime and saucy strawberries.

The small performance area doesn’t hold the choreography back, instead creating an enjoyable intimacy, and the dancing is exquisite from the entire cast. The choreography is smooth and joyful, and Benjamin Kwasi Burrell’s costume design is camp and colourful and feels perfect in Soutra Gilmour’s kitsch venue design.

The message of acceptance is delivered with a twinkle and a wink as Clive shows Action Man the beauty of being yourself and is wrapped up nicely by a heartfelt monologue from Clive’s dad as he voices his love and pride for his sleeping son.

Nutcracker is sweet, funny and celebratory – and as camp as Christmas. A vibrant reimagining that is heating up the Winter season.

Jack Studio Theatre – until 11 November 2023

4****

Reviewed by Claire Roderick

Bones in Motion’s production of Imogen Wilde’s debut play is a thought-provoking and funny take on the information wars that fuel public action or apathy about climate change.

Activist Millie (Imogen Wilde) hears of a remote community in Scotland populated by like-minded scientists and campaigners – the “knowers” who realise how badly humanity are damaging the planet – and, feeling vulnerable after making a very public mistake, she decides to join them for a month’s retreat.

On arrival, although thrilled with the recycling, low-carbon and self-sufficient lifestyle, a few things puzzle her. Why does she need to surrender her phone? Why do the rules include no internet, no news broadcasts from the outside world, and why does everybody need to wear a tracker? Despite clashing at first with Jay (Andre Bullock) as he needles her about middleclass white privilege and how much easier it is to make a change if you have money, the two become inseparable, and Millie even wins over spiky longstanding resident Ruth (Rebecca Crankshaw) whose first impression of Millie is the delightfully phrased “a cocktail of entitlement and delusion”. Jilly Bond is Sylvie – drinking her days away, and Sushant Shekhar is Ramesh – the only resident with limited contact with the outside world.

The cast have wonderful chemistry and a believable passion as they gaze out at imaginary Scottish landscapes and stars. Wilde and Bullock bounce off each other brilliantly with a lightness that is charming and convincing under Oliver Stephens’ direction.

The community’s knowledge of climate disaster and their choice to withdraw themselves seems to both beguile and disgust Millie, and she begins to question what exactly is going on. Cartoonishly evil lobbyists and puppet politicians shed light on the mystery as their shady discussions about following the American model of misinformation and doubt to drown out the studies of scientists lead to a genius plan to shut down the voices they deem most dangerous.

Wilde’s skilful writing keeps the audience wondering about certain characters’ motivations and loyalties right until the final payoff, and this is a very impressive debut.

Extracts from genuine studies and reports are projected and read out, and Jay’s helplessness at not being to ensure the children of Lewisham get to breathe less toxic air ground the humour and you will probably leave the theatre feeling angry and inspired by this timely and smart production.

Lyric Theatre, London – 7 to 19 November 2023

Reviewed by Claire Roderick

5*****

Broadway legend Mandy Patinkin’s short residency at the Lyric is a rare treat. The opportunity to see such a master of his craft live is not to be missed, and you’ll be wishing that 90 minutes could last forever.

Accompanied by Adam Ben-David on piano – their timing and understanding of each other is a delight – Patinkin takes the audience on an eclectic journey full of passion and wit. With an adept nonchalance that could fool the audience into thinking he is freewheeling through the show, Patinkin performs themed medleys including songs by Rogers and Hammerstein, Sondheim, Randy Newman, Lyle Lovett and even a stunning solo version of Bohemian Rhapsody. Patinkin’s smooth and powerful voice is still stunning, and he adds emotional heft to every song, even when clowning around performing Lovett’s If I Had A Boat.

Patinkin scatters anecdotes between songs – and whether talking about his family, his Jewish heritage or his Broadway career, he is equally fascinating and funny. There are no bells and whistles onstage, just some perfectly judged lighting changes as Patinkin’s magnetism makes it hard to tear your eyes of this expert performer. His version of Being Alive was incredible – Ben-David’s arrangements showcasing Patinkin’s voice perfectly. A few numbers had many around me tearing up – especially the emotive rendition of My Mom/Children Will Listen – and his switch from English to Yiddish in Somewhere Over The Rainbow after reminding the audience of Harold Arlen and Yip Harburg’s families flight from the pogroms was an emotional blow that made an unforgettable moment.

An unmissable masterclass of musical theatre – Mandy Patinkin in Concert is simply sublime.

Performance dates:

Tuesday 7 November, 8pm Thursday 9 November, 8pm Saturday 11 November, 3pm Sunday 12 November, 3pm Tuesday 14 November, 8pm Thursday 16 November, 8pm Saturday 18 November, 3pm Sunday 19 November, 3pm

Live Theatre, Newcastle upon Tyne – until 18th November 2023

Reviewed by Sheila Storrar

5*****

After two successful runs at fringe theatre Laurels, in Whitley Bay, Jamie Eastlake’s play adapted from Jonathan Tulloch’s novel of 2000, “The Season Ticket”, transfers to Live Theatre. Set on Tyneside, it follows the quest of two teenagers trying to raise enough money to buy their dream: Newcastle United season tickets. The action has been updated from the book and later film, “Purely Belter”, by twenty or so years and now takes place against the backdrop of a Newcastle United under the controversial ownership of businessman Mike Ashley.

The cast of three local actors tell the story of Gerry (Dean Logan), a small but streetwise fifteen-year-old for whom school is irrelevant and his slightly older, unemployed best friend, Sewell (Jack Robertson), a larger and more simple soul, who dreams of owning a dog and having a girlfriend. Becky Clayburn takes the third role, or should I say roles, as she brilliantly plays all the other characters who inhabit the lives of Gerry and Sewell. These include family members, social workers, teachers, scrap dealers and a slightly menacing narrator/scene setter who prowls on the roof of a Metro train.

The set, a derelict Tyneside Metro train and graffitied station on an urban wasteland, is bleak. The play begins with driving rock music and audience participation demanded to create an army of flag waving football fans, which is perfectly evocative of the building atmosphere around St James’ Park on matchday. The story follows the pair over the course of a year, as they try sometimes hair-brained, often illegal schemes to collect the necessary cash together to achieve their dream.

With swearing throughout and issues of social deprivation, sexual abuse, suicide, alcoholism, drug abuse, and a recommended 15+ audience, it’s difficult to see how this play could be funny and ultimately uplifting, but it is both.

The dark subject matter is threaded throughout with moments of comedy and even slapstick as the pair try ever more ridiculous and ultimately desperate ways, to raise the money. There are laugh out loud moments and extremely poignant and tragic moments, which stun the audience into complete silence, as the bleak reality of Gerry and Sewell’s lives is told. A soundtrack including multiple Tyneside musical icons, from The Animals all the way to Sam Fender, is woven throughout the play which reinforces this as a very Geordie drama, although the themes are in no way exclusive to Tyneside. The message is that ultimately an accident of birth dictates one’s social situation and life chances, but everybody has hopes and dreams and in this play they parallel those of the fans following the changing fortunes of Newcastle United Football Club. Gerry and Sewell don’t want much out of life, just the hope of something better.

You don’t need to follow football or be a Geordie to appreciate and enjoy this play and I highly recommend this fantastic piece of theatre which closed to a standing ovation at Live Theatre.

Kings Theatre Portsmouth – until Saturday 11 November 2023

Reviewed by Lucy Hitchcock

4****

CCADS theatre return with an amateur production of Kinky Boots, that is one to rival the professional West End cast!

John-Paul McCrohon excels as the troubled ‘Charlie Price’ who, after losing his father, becomes the owner of Price and Son shoe factory. After discovering that the factory is on its last legs and closure proceedings are in the process, he meets ‘Lola’(Ross Cobbold) and together, they discover a niche market of making heels for Drag Queens. Together, they embark on a journey to create these heels and with many twists, turns, breakups and a lot of singing, they eventually take their heels to Milan for the world to see. 

This is a fantastic show and was so professionally performed that I couldn’t believe it was not a touring west end production. Directed by leading man McCrohon and choreographed by Charlotte Turnbull, this is a tough cookie to tackle, but they do so with gravitas and determination. As this is one of my favourite shows, I had high expectations and they were certainly met! The singing was superb, with Charlotte Thomas as ‘Lauren’, a factory worker in love with her boss, performing ‘The History of Wrong Guys’ with perfect enthusiasm and wit. Costumes and set, provided by Utopia Costumes and Scenic Solutions were on the money and tied the whole production together. A special mention to Thomas Dow and Christopher McCrohon as Young Lola and Simon, as they donned their heels and strutted their stuff across the stage without a hint of hesitation! 

I couldn’t imagine a better night out-this is a show for all ages, tackling some hard hitting themes such as, not being accepted for who you are, bullying and learning to love yourself. To call this an ‘amateur production’ would be a disservice-this was truly professional!

WESSEX GROVE, GAVIN KALIN PRODUCTIONS AND PLAYFUL PRODUCTIONS
PRESENT

THE WORLD PREMIERE

OF

A NEW MUSICAL

OPENING NIGHT

STARRING

SHERIDAN SMITH

BOOK BY IVO VAN HOVE

MUSIC AND LYRICS BY RUFUS WAINWRIGHT

DIRECTED AND CONCEIVED BY IVO VAN HOVE

AT THE GIELGUD THEATRE IN LONDON’S WEST END

FOR A STRICTLY LIMITED SEASON
FROM
6 MARCH TO 27 JULY 2024

TICKETS ON SALE TODAY, FRIDAY 10 NOVEMBER 2023 AT 10.00AM

Wessex Grove, Gavin Kalin Productions and Playful Productions are delighted to announce the World Premiere of John Cassavetes’ OPENING NIGHT, a new musical with book by Ivo van Hove and music and lyrics by Rufus Wainwright.

Directed and conceived by Ivo van Hove and starring Sheridan Smith as Myrtle,it will play a strictly limited season at the Gielgud Theatre in London’s West End from 6 March to 27 July 2024. Further casting to be announced soon.

Tickets go on sale today, Friday 10 November 2023 at 10.00am. OpeningNightMusical.com

Based on John Cassavetes’ legendary film, OPENING NIGHT follows a theatre company’s preparations to stage a major new play on Broadway. But drama ignites behind the scenes when their leading lady is rocked by tragedy, and her personal turmoil forces everybody to deliver the performance of their lives. 

Sheridan Smith said today “The chance to work with the musical genius that is Rufus Wainwright and one of the world’s greatest stage directors Ivo van Hove was a once in a life time opportunity, and quite frankly if they’d asked me to read out the back of a cereal packet I’d have been there! But, I couldn’t be more thrilled to be cast in this fantastic original musical and to play the complex and challenging character of Myrtle”.

Ivo van Hove said today “After the success of A Little Life I am thrilled to return to the West End together with Wessex Grove to create a new musical. It is a dream come true to collaborate with the wonderful Rufus Wainwright, whose work I have been a fan of for so many years. We connected over our shared love of the incredible John Casavettes film Opening Night and it has long been an ambition of ours to bring a musical version to the stage. Opening Night not only gives us an insight into the trials and tribulations behind the scenes of the theatre, but it is also the heartbreaking story of a woman fighting for hope and self-determination in a world that doesn’t want to listen”.

Rufus Wainwright said today, “For me John Cassavetes’s movie Opening Night has long been a shining beacon representing both excellence in cinema and the might of live theatre. An intense marriage of film and stage it is about a very personal mental and creative survival that I think we can all relate to on a very deep human level. I’ve been waiting for ages to write my first musical and with this fantastic story plus the incomparable Sheridan Smith, not to mention the incredible Ivo van Hove, I don’t think I could have aimed any higher”. 

Producers Benjamin Lowy and Emily Vaughan-Barratt said today, “Deep in the early lockdowns of 2020, just after forming our company, we zoomed with Ivo and Rufus about turning Opening Night into a musical. It was a thrilling idea they had, and that conversation turned into the first commission Wessex Grove made. Rufus has written the most extraordinary original music and it is a joy for us to be reuniting with Ivo after the success of A Little Life earlier this year. Opening Night is a show about making theatre in all its forms; the heartbreaks, the turmoil, and the pure joy of it. We couldn’t be luckier to have one of our great theatrical stars, Sheridan Smith, leading the cast of this new musical”.

OPENING NIGHT has a Book by Ivo van Hove with Music and Lyrics by Rufus Wainwright. It is Directed and conceived by Ivo van Hove, has Set, Lighting and Video Design by Jan Versweyveld, Costume Design by An D’Huys and Sound Design by Tom Gibbons and Alex Twiselton. Orchestrations are by Rufus Wainwright, with Musical Supervision and Musical Direction by Nigel Lilley. Movement and Choreography is by Polly Bennett, Casting by Julia Horan CDG and the Associate Director is Daniel Raggett.

Top Musical Theatre Talent Cast for WORLD PREMIERE

Top musical theatre talent cast for the world premiere of new British musical CABLE STREET – opening at The Large, Southwark Playhouse Borough on Friday 16 February 2024 to Saturday 16 March 2024.

CABLE STREET is a topical and electrifying reimagining of one of London’s most momentous days – celebrating a community who came together with a call for action, as The Battle of Cable Street was fought and won. With racial tensions running high, people marched and took to the streets of London…. A timeless story, as powerful today as it was in 1936.

The cast of eleven plus full band includes: Danny Colligan (Dirty Dancing, Book of Mormon, Les Misérables), Sha Dessi (Les Misérables – nominated by Sir Cameron Mackintosh for the Stage 25 Awards 2022) and recent graduate Joshua Ginsberg – as the three young friends who passionately live their lives in the multi-cultural melting pot that is Cable Street. Joining them are: Debbie Chazen (Calendar Girls The Musical – Olivier Best Actress in a Musical nomination, Our Generation, Mother Clapp’s Molly House – RNT, TV: Doctor Who, Sherlock, Doctors – Best Actress Soap Award nomination); Sophia Ragavelas (Cats, The Lion King, Mama Mia, Les Misérables); Jade Johnson (Book of Mormon); Max Alexander-Taylor (The Lion – Southwark Playhouse); Aiofe Mac Namara (workshop Cable Street), Ethan Pascal Peters (Showstopper! The Improvised Musical).

It’s October 1936 in the heart of London’s East End. Sammy (Ginsberg), Mairead (Dessi) and Ron (Colligan) are carving out their own futures on Cable Street when Oswald Mosley’s British Union of Fascists (Blackshirts) start to march on East London. Half a million Jews, Irish workers, trade unions, the labour and communist parties, women and children unite to blockade the road they all call home. As the people raise their voices and take a united stand against hatred, the lives of the streets’ residents are changed forever.

Discovering there were so many connections to The Battle of Cable Street still resonating today, composer/lyricist Tim Gilvin and playwright Alex Kanefsky decided that CABLE STREET must feature a contemporary score: bringing to life a vital part of London’s rich diversity and history.

In an extraordinary twist of fate, Joshua Ginsberg’s great-grandfather Isidor Baum fought at The Battle of Cable Street, returning home bleeding profusely but victorious – true life reflecting art. And researching their own families, several of the cast and production team emotionally find their own connection to the East End and the 4 October 1936: their ancestors also defended this diverse community from fascist intimidation at The Battle of Cable Street: with cries of They Shall Not Pass.

CABLE STREET creatives include:

• The award-winning composer/lyricist Tim Gilvin (hit musical Unfortunate: the Untold Story of Ursula the Sea Witch – Underbelly + Southwark Playhouse Elephant – Dec 2023–Feb 2024 + national tour; Stay Awake Jake – Southwark Playhouse, Help! We Are Still Alive – Seven Dials Playhouse; orchestrations for Sarah Brightman’s A Starlight Symphony tour (2022) Tim is the first composer to have two shows produced back to back with Unfortunate at Southwark Playhouse Elephant and Cable Street at Southwark Playhouse Borough!
• Writer Alex Kanefsky (writer, performer and storyteller; Artistic Director of Paper Balloon Theatre, Kaylosia Comedy collective and the V&A. Cable Street is his first full-length musical, and his first time working with Tim Gilvin. Now collaborating on The Great Moon Hoax.)
• Director Adam Lenson (The Rink – Southwark Playhouse, Public Domain – Southwark Playhouse & Vaudeville Theatre. Founder of SIGNAL showcasing over 100 emerging writers.)
• Musical Director Tamara Saringer (The Third Man – Menier, Identical – Lowry.)
• Costume Designer Lu Herbert (Northern Stage, Opera North Festival,Help! We Are Still Alive – Seven Dials Playhouse.)
• Lighting Designer Sam Waddington (Joy – Theatre Royal Stratford East, Superhero – Southwark Playhouse.)
• Dramaturg – Olivia Mace (Dancing Shoes – Southwark Playhouse. TV: Sitting on the Hill.
• Casting Director – Sarah Leung.
• Artwork – Bob King (recipient of Olivier Special Recognition Award 2022; Phantom of the Opera, My Fair Lady, Beauty & The Beast, Frozen, Back to the Future, TINA: The Tina Turner, Leopoldstadt, Mary Poppins, Girl From The North Country, ART, Cirque du Soleil.
• Set designer Yoav Segal (Sadler’s Wells, Bristol Old Vic) – Yoav’s grandfather was at the Battle of Cable Street. Yoav made a beautiful film with his grandfather before his death, shot on Cable Street – his family history of The Battle of Cable Street lives on.
• Produced by Dylan Schlosberg’s 10 to 4 Productions – a production company dedicated to developing and investing in new musicals
• Co-Produced by Neil Marcus (The A-Z of Mrs P – Southwark, The Buskers Opera – Park Theatre.)

New British musical CABLE STREET – with an urgent story for today’s audiences.

FULL LISTINGS INFORMATION

FRIDAY 16 FEBRUARY 2024 TO SATURDAY 16 MARCH 2024

At

The Large, Southwark Playhouse Borough, 77-85 Newington Causeway, London, SE1 6BD

southwarkplayhouse.co.uk

BOX OFFICE: 020 7407 0234 – [email protected]
Box Office opens Monday – Saturday 10:00am-6pm

FRIDAY 16 FEBRUARY 2024 – £10 Pioneer Preview – all seats £10.

SATURDAY 17 FEBRUARY – SATURDAY 24 FEBRUARY – all seats £16 during previews

MONDAY 26 FEBRUARY – SATURDAY 16 MARCH – £35 standard / £28 concessions

Evening show: 7:30pm

Matinees: Tuesday and Saturdays at 3pm.

Suggested age 13+

Royal Court, London – until Saturday 16 December 2023

Reviewed by Jan Brodie-Murphy

4****

Gosh I found you had to pay attention throughout this 2 hour and 15 minute production as if you took your foot off the pedal you missed essential dialogue of the story, in the build up to what became a hilarious play.

Very funny and lots of pertinent references to what is going on in the world today politically and otherwise. 

Very taken with actor George Fouracres who brought such humour to the stage and was pivotal in creating the laughter from the audience.

Funny and fun to watch with a brilliant audience who really got behind the actors (Amy Booth-Steel, Natalie Dew, Karina Fernandez, George Fouracres, Laurie Kynaston, Philipp Mogilnitskiy and Fenella Woolgar) actually somehow becoming part of the play in this tiny unique theatre.

Really enjoyed the production and got me guffawing with laughter.