Musical Con, The West End’s official musical theatre fan convention, to return to Excel London in 2024 Saturday 19th – Sunday 20th October 2024 ExCel London, Royal Victoria Dock, London E16 1XL
The producers of the West End’s official musical theatre fan convention are delighted to announce that Musical Con will return to ExCel London in 2024. Musical Con was visited by over 10,000 musical theatre fans from across the globe in 2022 and 2023 and will return for another weekend-long celebration of all thing’s musical theatre on Saturday 19th and Sunday 20th October 2024. A limited number of Early Bird tickets are on sale now and expected to sell out quickly
2023’s convention saw Musical Con occupy a larger space within the ExCel London than the previous year and over 100 special guests and 140 hours of programming across multiple stages and areas. Highlights from this year’s event include the hugely popular opening and closing ceremonies and cosplay, lip-sync battle and Star Of Musical Con competitions, show spotlights on The Lion King, Operation Mincemeat, Everybody’s Talking About Jamie and Lizzie, artist spotlights on legendary composer Claude Michel-Schonberg and renowned choreographer Dame Arlene Phillips, special performances by Rachel Tucker and the cast of Roald Dahl’s Matilda The Musical movie, performances from new musicals The Book Thief, Ride, Babies, Super You and Bronco Billy and cast reunions of Bat Out Of Hell, Newsies and a surprise reunion of the cast of Sheffield Crucible’s Miss Saigon. Highlight videos of this year will be released in the coming weeks on the Musical Con YouTube channel.
2024’s convention will once again include performances, interviews, panels, demonstrations, photo and signing opportunities, a huge selection of workshops and masterclasses and Theatreland with interactive experiences and all manner of musical theatre businesses.
Musical Con is produced by Chris Steward and Shanay Holmes of West End Musical Productions. Co-producer Shanay said, This year was really special because the fans knew exactly what to expect and the entire community have taken full ownership of the event and made it their own. Musical Con is our home, it is the place where we belong, and we can’t wait for 2024!
WILTSHIRE CREATIVE ANNOUNCES SPRING 2024 PROGRAMME FEATURING NEW PLAYS BY
CHRIS CHIBNALL AND SIR ALAN AYCKBOURN
Wiltshire Creative today announce their Spring 2024 programme. Building on their recent in-house productions at Salisbury Playhouse, which include The Girl on the Train and Jeeves & Wooster in Perfect Nonsense, Wiltshire Creative’s programme for next spring includes three new in-house productions.
One Last Push is a world premiere of a new original comedy about the unexpected and often hilarious dramas of childbirth written by Chris Chibnall, creator of Broadchurch and the showrunner of Doctor Who, which will premiere at the Playhouse and will run from 15 February to 9 March with the press night on the 20 February. Alan Ayckbourn‘s A Chorus of Disapproval staged from the 25 April to 18 May is a farce following a hapless widower who joins an amateur operatic society in time for its production of The Beggar’s Opera with the press night on the 30 April. The third in-house production for Spring ’24 will be Wiltshire Creative’s Youth Theatre retelling of Philip Pullman’s Ghosts and Grimm Talesand this will run from 25 until 27 July.
Gareth Machin, the Artistic Director of Wiltshire Creative said: “I’m delighted that original drama is back centre stage at Salisbury Playhouse with the world premiere of Chris Chibnall’s new raucous comedy One Last Push alongside a packed and varied programme of high quality visiting work both at the Playhouse and Arts Centre, we know we are offering our audience a season brimming with entertainment.”
Highlights of the visiting programme include:
The Adventures of the Little Red Hen, produced by Stuff and Nonsense Theatre Company visiting Wiltshire for the first time
Breathe by SK Shlomo which won 2022 “Spirit of the Fringe” award, blending beatboxing, storytelling and technology into a concert-cum-theatre piece
A comedy programme of well-known names including Omid Djalili, Reginald D. Hunter, Paul Foot and Mark Watson, and debuts from Judi Love and Alasdair Beckett-King
The British poet and Sunday Times bestseller Holly McNish’s The Lobster Tour, to promote the release of her new book Lobster: and other things that I’m learning to love
A music programme headlined by Louise Jordan who is performing a series of sung stories to celebrate hidden women of history for International Women’s Day 2024
SALIBURY PLAYHOUSE
A Wiltshire Creative Production ONE LAST PUSH By Chris Chibnall
15 February – 9 March
Director: Gareth Machin; Designer: Simon Kenny; Lighting Designer Johanna Town; Casting Director: Gabrielle Dawes CDG
A raucous new comedy from the writer of Worst Wedding Ever. Jen and Mark have done the NCT classes. They’ve written the birth plan, in precise detail. They’ve even got the birth pool ready in the living room of their new flat. Almost. Everything is set for the perfect, calm, idyllic home birth. Except they’ve reckoned without intrusive family, nosy neighbours, uninvited guests and a new flat full of unwelcome surprises. Chris Chibnall’s new play hilariously depicts what happens when one of life’s most magical events gets hijacked… by life itself. Chris Chibnall is best known for writing Broadchurch, Worst Wedding Ever (2014 and 2017 Salisbury Playhouse) and Doctor Who (2018–2022).
Chris Chibnall is a BAFTAand Peabody award-winning screenwriter, executive producer, and playwright whose work has been seen, translated and remade all around the world. He is the recipient of the prestigious FIPA Prix D’Honneur, and honorary doctorates from Edge Hill University and Sheffield Hallam University. His theatre credits include Worst Wedding Ever (Salisbury Playhouse, 2015 & 2017 and national tour), Gaffer! (Southwark Playhouse, York Theatre Royal, 2005), Kiss Me Like You Mean It (Soho Theatre 2002, Théâtre de L’Oeuvre 2004). His TV writing credits include Broadchurch (Imaginary Friends/ITV), The Great Train Robbery: A Robber’s Tale and A Copper’s Tale (BBC One/World Productions), United (BBC Two/World Productions), Doctor Who, (BBC Studios, 2018-2022), Torchwood and Life On Mars (BBC Studios) and Law & Order UK (Kudos, Wolf Entertainment, Universal).
Gareth Machin directs. Machin is the Artistic Director of Wiltshire Creative. Previously, he was studio associate at the National Theatre, Artistic Director of Southwark Playhouse and associate director at Bristol Old Vic.
SALISBURY PLAYHOUSE
A Wiltshire Creative Production A CHORUS OF DISAPPROVAL By Alan Ayckbourn 25 April – 18 May
Director: Gareth Machin
Recently widowed Guy joins his local Amateur Light Operatic Society in hope of finding new friends and meaning in his life but ends up with a lot more than he bargained for! In their upcoming production of The Beggar’s Opera, Guy starts out playing a part with only one line, but his good looks and mild manners soon see him climb his way to the leading role. Unable to say no to wine, women and song, he finds himself embroiled in a series of backhand deals, steamy affairs and pub brawls.
Ayckbourn’s comedic genius comes to life in this award-winning show and promises to be a guaranteed night of blissful hilarity.
Sir Alan Ayckbourn is an Olivier and Tony Award-winning playwright. He has written 89 full-length plays, many of which have been produced in London’s West End and New York as well as around the world. As an acclaimed director, he has worked extensively in the West End and at the National Theatre. He was the Artistic Director of the Stephen Joseph Theatre, Scarborough, from 1972 to 2009, where the majority of his work has and continues to be launched. More than 40 plays have subsequently been produced in the West End, at the National Theatre or by the Royal Shakespeare Company since his first hit Relatively Speaking opened at the Duke of York’s Theatre in 1967. Major successes include Absurd Person Singular (1975), The Norman Conquests trilogy (1973), Bedroom Farce (1975), Just Between Ourselves (1976), A Chorus of Disapproval (1984), Woman in Mind (1985), A Small Family Business (1987), Man of the Moment (1988), House & Garden (1999) and Private Fears in Public Places (2004). His plays have won numerous awards, including seven London Evening Standard Awards. They have been translated into over 35 languages and are performed on stage and television throughout the world. Ten of his plays have been staged on Broadway, attracting two Tony nominations and one Tony Award.
SALISBURY ARTS CENTRE
A Wiltshire Creative Production
GHOSTS AND GRIMM TALES
By Philip Pullman Adapted by Philip Wilson
Performed by Wiltshire Creative’s Youth Theatre 25 – 27 July
Wiltshire Creative’s Youth Theatre Stage 65 present an evening of Philip Pullman’s Grimm Tales in the spooky surroundings of Salisbury Arts Centre. These original tales will incorporate local ghost stories with dark, sinister twists. Join us if you dare!
Philip Pullman’s books include the trilogy His Dark Materials and The Good Man Jesus and the Scoundrel Christ. In 2008, The Times named Pullman one of the “50 greatest British writers since 1945”. He was knighted in the 2019 New Year Honours for services to literature.
Philip Wilson is a freelance director, who was previously Artistic Director of Salisbury Playhouse (2007-2011). Recent directing credits include The Oyster Problem (Jermyn Street Theatre), A Single Man (Park Theatre), Starcrossed (Wilton’s Music Hall), The Boy with the Bee Jar (Hope Theatre), This Island’s Mine (King’s Head Theatre), After the Dance (Theatre By The Lake) and A Fox on the Fairway (Queen’s Theatre, Hornchurch). His adaptations of Philip Pullman’s Grimm Tales were originally produced for Shoreditch Town Hall and Oxo Bargehouse. As Artistic Director of Salisbury Playhouse, he directed The Game of Love and Chance, The Constant Wife, The Picture, Private Lives, Arsenic and Old Lace, The Winslow Boy, his own adaptation of JL Carr’s A Month in the Country, What the Butler Saw, People at Sea, Alphabetical Order and Corpse!
Thursday 19 October – Saturday 11 November Backstage Tour: Saturday 28 October at 11am Post-Show Q&A: Wednesday 1 November BSL and Captioned Performance: Tuesday 7 November at 7.30pm Audio Described and Touch Tours: Thursday 9 November at 2.15pm and 7.30pm Tickets from £13
DICK WHITTINGTON
Salisbury Playhouse, Main House,
Malthouse Lane, Salisbury SP2 7RA
Saturday 25 November 2023 – Sunday 7 January 2024
Backstage Tour: Saturday 6 January 2024 at 11am
BSL and Captioned Performances: Wednesday 6 December 2023 at 7pm and Thursday 4 January 2024 at 2:15pm
Relaxed Performance: Saturday 6 January 2024 at 11am
Audio Described and Touch Tours: Thursday 14 December 2023 at 2:15pm and 7pm and Tuesday 19 December 2023 at 7pm
Tickets from £17
ONE LAST PUSH
Salisbury Playhouse, Main house
Malthouse Lane, Salisbury SP2 7RA
15 February – 9 March | 7:30pm
Thursday and Saturday matinees | 2:15pm
Backstage Tour: Saturday 9 March at 11am
BSL and Captioned Performance Tuesday 5 March at 7:30pm
Relaxed Performance Tuesday 5 March at 7:30pm
Audio Described and Touch Tours Thursday 7 March at 2:15pm and 7:30pm Tickets from £13
A CHORUS OF DISAPPROVAL
Salisbury Playhouse, Main house
Malthouse Lane, Salisbury SP2 7RA
25 April – 18 May | 7:30pm
Thursday and Saturday Matinees | 2:15pm
Backstage Tour: Saturday 11 May at 11am
BSL and Captioned Performance Tuesday 14 May at 7:30pm
Relaxed Performance Tuesday 14 May at 7:30pm
Audio Described and Touch Tours Thursday 16 May at 2:15pm and 7:30pm
BRAND NEW PRODUCTION PHOTOGRAPHY IS RELEASED FOR THE FIRST EVER UK AND IRELAND TOUR OF DISNEY’S HIT BROADWAY AND WEST END MUSICAL, ALADDIN
Photo credit Deen Van Meer
BASED ON THE HIT 1992 ANIMATED FILM WITH NEW SONGS BY TONY®, OLIVIER®, GRAMMY®, EMMY® AND EIGHT-TIME ACADEMY AWARD® WINNER ALAN MENKEN
Disney Theatrical Productions, under the direction of Thomas Schumacher,present the first ever UK and Ireland tour of Disney’s Aladdin.
Desmonda Cathabel (Jasmine)
The critically acclaimed Broadway and West End musical is now open in Edinburgh, before dates in Cardiff, Plymouth, Sunderland, Dublin, Milton Keynes, Manchester, Bristol, Bradford, Southampton, Birmingham, Glasgow, and Liverpool. with further cities to be announced.
Gavin Adams (Aladdin)
The UK and Ireland tour of Disney’s Aladdin stars Yeukayi Ushe (Disney’s The Lion King, A Strange Loop, Kinky Boots and Motown The Musical) as Genie and introduce Gavin Adams as Aladdin. A recent graduate of the Royal Academy of Music, Gavin will be making his professional debut in the title role. Also a graduate of the Royal Academy of Music, Desmonda Cathabel (Miss Saigon, From Here to Eternity) will play Jasmine when the show opens in Edinburgh, with casting for the role in future venues to be announced in due course.
Gavin Adams (Aladdin)
They are joined by Adam Strong (Rock of Ages, Joseph and the Amazing Technicolor Dreamcoat) as Jafar, Jo Servi (Dreamgirls, The Color Purple)as Sultan, Angelo Paragoso (The Reporter, Miss Saigon) as Iago, Nay-Nay (Once On This Island) as Kassim, Adam Taylor (Cabaret, Everybody’s Talking About Jamie) as Omar, and Nelson Bettencourt (Disney’s Beauty and the Beast, Les Misérables) as Babkak.
The full cast also includes Hannah Amin, Dammi Aregbeshola, Rico Bakker, Daisy Barnett, Sarah Benbelaid, Erin Gisele Chapman, Tau-En Chien, Zac Frieze, Jared Irving, Juan Jackson, James Lim, Harriet Millier, Luchia Moss, Aaron Elijah Patel, Abbie Platts, Joseph Poulton, Chris Ribz, Olivier Scheers, Kerry Spark, Ricardo Spriggs, Damien Winchester, Niko Wirachman.
Gavin Adams (Aladdin), Yeukayi Ushe (Genie) and ensemble
Experience the timeless story of Disney’s Aladdin, a thrilling production filled with unforgettable magic, comedy and breathtaking spectacle! Don’t miss this extraordinary theatrical event already seen by over 14 million people worldwide, where one lamp and three wishes make the possibilities infinite.
Ensemble
Adapted from Disney’s 1992 animated film and centuries-old folktales including “One Thousand and One Nights”, this smash-hit musical is brought to theatrical life in a unique and dazzling way. The show continues its record-breaking run on Broadway at the New Amsterdam Theatre, and since opening there in March 2014, nine subsequent productions have launched around the world, including over 1200 performances at the Prince Edward Theatre in London’s West End.
Yeukayi Ushe (Genie)
Aladdin features the timeless songs from the animated film, as well as new music by Tony®, Olivier®, Grammy® and eight-time Acadamy Award® winner Alan Menken (Beauty and the Beast, Newsies, Sister Act), lyrics by two-time Academy Award® winner Howard Ashman (Beauty and the Beast, The Little Mermaid), three-time Tony® and three-time Academy Award® winner Tim Rice (The Lion King, Evita, Aida) and six-time Tony® nominee Chad Beguelin (The Prom, The Wedding Singer), with a book by Beguelin, and is directed and choreographed by Tony® and Olivier® Award winner Casey Nicholaw (The Book of Mormon).
Yeukayi Ushe (Genie) and ensemble
Aladdin is designed by seven-time Tony®-winning scenic designer Bob Crowley, seven-time Tony®-winning lighting designer Natasha Katz, two-time Tony®-winning costume designer Gregg Barnes and sound designer Ken Travis.
The production team also includes illusion designers Jim Steinmeyer and Rob Lake, hair designer Josh Marquette and makeup designer Milagros Medina-Cerdeira. The music team is headed by music supervisor and music director Michael Kosarin, who also created the vocal and incidental music arrangements, joined by orchestrator Danny Troob and dance music arranger Glen Kelly. Ben Clare is the associate director, Kyle Seeley is the dance supervisor, Jason Trubitt is the production supervisor and Myriah Bash is the US general manager. Casting is by Jill Green CDG.
Jonathan Maitland’s latest work prompts some intriguing questions in his play The Interview, which opened last night at the Park theatre. Exploring the once celebrated but now highly controversial 1995 Panorama television interview between Martin Bashir and Diana, Princess of Wales, Maitland delves into the ethical minefield that has in recent years become attributed to the piece. Despite questions surrounding Bashir’s motives to secure the scoop being raised at the time, a full investigation didn’t take place until a few years ago where it was deemed to be stripped from public domain.
With this in mind, Maitland poses the question, can you appreciate the art and separate your feelings for the artist? Michael Jackson, Pablo Picasso and Eric Gill, the general public’s ability to enjoy the art while ignoring the flaws or criminalities of the person behind the curtain is a topical subject worthy of debate. Maitland also asks the question of whether the interview should be banned from all platforms. Diana was always intending to give a “tell all” interview and timing was at the essence for fear of receiving a gag order. Bashir used unethical and downright immoral motives to win over the already vulnerable Diana to secure himself as the confidant and therefore only worthy candidate to hold the interview… but should Diana’s words be silenced? Maitland’s initial intrigue was sparked by Diana’s speeches on mental health, her bouts of bulimia and postnatal depression that have now been locked away, never to be heard again.
The premise is simply bursting with drama; it is timely, controversial, with subject matters ranging from ethics in journalism to a thousand-year-old monarch in jeopardy; it is high stakes, lies, deceit and ultimately… death. It’s a rags to riches to rags story for Bashir and for Diana, a painful culmination of years of mistreatment and severe unhappiness, it’s her escape from the clutches of one of the most powerful institutions in the world. This play should have had it all. So, what went wrong?
The first act is a game of cat and mouse between Diana and Bashir as the journalist seeks out to win Diana’s trust and ultimately, the interview. Instead of escalating the drama, we end up with a first act devoted in its entirety to exposition. Short scenes, and uninspired language bleed the play from any action or dramatical peaks. It flat lines with two-dimensional speech, characterisations drier than the Sahara Desert and embarrassing one-liners in a sad attempt to inject life into the piece. Any subtext or depth is washed over, and the 45-minute act comes across as a live reconstruction from Crimewatch. With regards to the performances, Yolanda Kettle’s robotic and dreary line readings alongside Tibu Fortes’s nervous and underwhelming performance as Bashir do little to elevate the lacking text. The clonky and unsettling direction are just the finishing touches to this flagging act. Next up, we are in the editing room with Bashir, scouring through soundbite filled footage. Kettle, who is now sat amongst the audience in a rather odd decision, delivers Diana infamous lines.
It is only as the play draws to a close that we are given the opportunity to gain perspective of the drama as a whole and explore the bigger questions. Stylistically and visually the piece immediately elevates, the language is much more direct and poignant, and we get a glimpse of what this play could have been. With so much potential, Maitland was on the right track with his choice of topic for his latest play; on paper, he is arguably the most suited playwright to tackle the subject given his previous work and history in journalism which included a working relationship with Bashir himself. There’s still potential here, with rewrites and a new vision there’s a chance for a dynamic piece of theatre to grow from. It’s just a shame that this wasn’t the production to be able to achieve this, a royal shame indeed!
Cambridge Arts Theatre, Cambridge – until Saturday 4th November 2023
Reviewed by Steph Lott
4****
Brian Friel’s “Faith Healer” is an enigmatic and moving play, skilfully directed by Michael Cabot for London Classic Theatre’s production. It delves into the shattered lives of its three characters, weaving a tapestry of regret, hope, and the elusive power of faith.
Set between 3 locations, the story unfolds through a series of four haunting monologues. Each character, Frank (Paul Carroll), his wife Grace (Gina Costigan), and his manager Teddy (Jonathan Ashley), presents their perspective on Frank’s unique talent – the ability to heal the sick, but with unreliable and unpredictable results. It is not clear whether he has a unique gift or whether he’s a con man. Grace and Teddy provide contrasting versions of events which causes even further doubt. The challenge is trying to work out exactly what took place from information provided by three distinctly unreliable narrators. This is an engrossing production of Brian Friel’s classic work. The three characters recall events that happened twenty years ago, each with differing perspectives. The audience need to pay close attention in order to spot any nuances or disparities.
Paul Carroll, in his portrayal of Frank, is spellbinding. His command of Friel’s complex and poetic dialogue is astonishing, and he flawlessly navigates the intricate emotional landscape of a man burdened with the weight of his own gift. With a raw vulnerability, Carroll takes us deep into Frank’s psyche, exposing his inner turmoil, anguish, and occasional flickers of hope. Carroll masterfully conveys the duality of Frank’s character – his charismatic charm that initially captivates, and the deep despair and self-doubt that lie just beneath the surface. Carroll’s performance is a tour de force.
However, Gina Costigan and Jonathan Ashley give equally powerful performances which provide necessary contrast to the character of Frank. There is a suggestion of a deep, complicated love and dependency between all three characters whose authenticity provides a necessary platform upon which the painful and tragic events can occur.
The staging is simple: there is an uneven and fragmented floor which suggest the outlines of the three countries where the narratives are set, with a large mirror upstage given a mottled broken and stained reflection of the action onstage. The stark and evocative design, coupled with subtle lighting changes, creates an ominous and bleak atmosphere in which the action unfolds.
In “Faith Healer” dialogue is discarded. The characters don’t address each other at all but instead speak only to the audience. This structure is extremely challenging because the actors must maintain the attention of the audience alone on a practically bare stage for long periods. So, while everything about this production is perfect, it is not a relaxing play to watch. The play is a puzzle of perspectives, leaving the audience to piece together the fragmented truth.
The Actor’s Church, Covent Garden – until 9th December 2023
Reviewed by Fiona Leyman
5*****
There is nothing more mesmerising than watching a flame flicker on a candle. Now, imagine hundreds of (artificial) candles all flickering together, mixed with the enchanting sounds of a string quartet, in the setting of a beautiful church. Sounds too good to be true doesn’t it?
Nestled in the middle of London’s bustling Covent Garden stands the beautiful 16th Century St. Paul’s Church, or otherwise known, The Actor’s Church. There aren’t many places in the centre of London where you can break away from the noise and crowds of Londoners and tourists going about their busy lives, but this little church is tranquillity in the heart of the city. With its walls steeped in theatrical history and memorial plaques with some of the of the most notable names in theatre, Sir Charlie Chaplin, Sir Noel Coward, Stanley Holloway to name just a few, this is the perfect location for such an event.
This magnificent church, lit only by candlelight, showcases the extraordinary talent of the Icon Strings Quartet. With a repertoire full of the most iconic songs from musical theatre, these four incredibly gifted chamber musicians are a wonder to behold. Each of these performers are both National and International award-winning musicians and have performed in some of the most coveted venues around the world. Nathalie Green Buckley on Viola and Elise Harper on Violin, who has toured with the likes of Michael Bublé and Sophie Ellis-Bextor, both play beautifully on instruments which are nearly 200 years old. Award winning Kirsten Jenson on Cello and Waterhouse Prize winner Haru Ushigusa on Violin, complete this amazing quartet. Collectively these musicians can be heard on the most notable albums and soundtracks, such as Downton Abbey, The Matrix and Blue Planet. Each complimented the others beautifully, sending their sounds echoing around every inch of the church.
Musicals by Candlelight is exactly what it says on the tin, your favourite musical theatre songs, enjoyed in the beauty of candlelight. I feel this description does not give this the justice it deserves though. There is no flashy staging, theatrics or costumes that we have become accustomed to being on London’s West End. This intimate concert is stripped back, raw and has simplicity at the heart of it. Hearing songs such as ‘Don’t Rain On My Parade’ from Funny Girl, or ‘Don’t Cry For Me Argentina’ from Evita played on the simple strings of an instrument is something not to be missed. Their ever-changing set list includes classics by Sir Andrew Lloyd Webber and Stephen Sondheim and memorable songs from shows like Mamma Mia, Hairspray, The Lion King and my personal favourite, Dear Evan Hansen.
Seeing each audience member watch in awe, as each song ignites a personal memory in their own mind is a wonder to watch. If you want a place to clear your mind and get away from the hustle and bustle of London, Musicals by Candlelight at the Actors Church is the place to go. Close your eyes, soak in the sounds, it will leave you feeling peaceful, with goosebumps on your arms and a big smile on your face. If I could give Musicals by Candlelight more than 5 stars, then I happily would.
York Theatre Royal – until Saturday 4th November 2023
Reviewed by Michelle Richardson
4****
Theatre Royal Bath Productions of Noises Off is currently playing at York Theatre Royal this week. Written by Michael Frayn, it was first performed in 1982, it is a play within a play, a sex comedy romp about a touring production of Nothing On.
Set in three acts, Act One is set in a theatre, it’s very late, with the cast performing the final, or maybe the technical rehearsal, of an upcoming production of Nothing On, all involved cannot quite make their minds up. With only a day left nothing is going to plan, the cast are under rehearsed, fixating on immaterial things, whilst everything is falling apart all around them, a perfect chaotic storm.
The show follows a housekeeper, played by Dotty Otley (Liza Goodard), who looks after a house owned by a couple in tax exile, played by Frederick (Simon Coates) and Belinda (Lucy Robinson). Unfortunately, her peace and quiet is shattered by the arrival estate agent and his bit of squeeze, played by Garry (Mark Middleton) and Brooke (Lisa Ambalavanar). Then the unexpected arrival of her employers truly puts a spanner in the works, as well as the appearance of the old sot of a burglar played by Selsdon (Matthew Kelly). Unfortunately for the lothario director Lloyd (Simon Shepherd), the actors can’t stick to the script. He becomes increasingly more exasperated with what is unfolding before his eyes, with so little time until opening night.
Act Two we get to see backstage on the opening night. Even with stage manage Poppy (Nikhita Lesler) and technician Tim (Daniel Rainford) attempting to hold things together it has all gone horribly wrong. We have missing actors, jealousy and misunderstandings run rampant, but still the show must go on. We only get to see behind the scenes and the curtain rising.
As the show is in progress the off-stage actors have to mouth and gesticulate in order to communicate. Frustration and revenge lead to some hilarious moments. The choreography involved with the axe wielding, all the doors opening and slamming, was magnificent to watch. This act had all the audience laughing at the antics playing in front us.
Act Three is the final show of the run. Things have obviously deteriorated throughout the tour. The cast are really on their last legs, in Dotty’s case hers is bandaged up. Relationships have broken down, the script is out of the window, props all over the place, chaos ensues.
During opening night, the theatre had a bit of a malfunction with the stage curtain. The stage manager came on stage between Act Two and Three to apologise and make us aware of this problem, only thing is that I’m not too sure if that was real or part of the show. Even after the apology, was this just part of the act? It fitted right into the story, so it could be.
This show gives the strong cast the opportunity to showcase their comic talents with their over exaggerated portrayals. It is full of slapstick, trousers around the ankles, an overacting actress, you get the gist. Shout out to Middleton for his physical comedy when his shoe laces were tied, and Robinson with her stage energy and ethos of the show must go on.
You cannot help but laugh along with this show, with all the chaos, door slamming and sardines. How on earth sardines play a pivotal role in this show is anyone’s guess, absurd, but that just makes it even funnier. A great night out and a masterclass in farce.
Festival Theatre, Malvern – until 4th November 2023
Reviewed by Courie Amado Juneau
4.5****
A Voyage Round My Father is John Mortimer’s memoir brought to the stage. First performed in 1970, over the years it’s had the biggest names in the business (like Olivier and Jacobi) leading the cast and tonight is no except with another phenomenal talent, the wonderful Rupert Everett, playing the titular character. His transformation as he aged was nothing short of remarkable. To make a character who is at times scheming, grumpy and cynical so likeable shows his abundant talent. The way he handled the script’s tender moments – like telling stories to his grandchildren or when his disability was confronted head on was nothing short of an acting masterclass. But he could also burst forth with joy or anger at a moment’s notice and this turning on a sixpence was also a joy to behold.
Eleanor David, as mother, was the perfect compliment to father, giving us a portrayal full of old fashioned love, kindness and patience. I found her reading very sympathetic and rather fell in love with her to the bargain!
Jack Bardoe, as son, has the most stage time as we see him navigating the choppy waters of his school years, making friends, dealing with girls, having his own opinions and eventually forging out on his own. The professional overlap with his father (both lawyers) gave us some delicate and comical interplay between the two male leads.
Julian Wadham played several roles with distinction and was everything one could hope for in a public schoolmaster – crusty, old fashioned, meaning well whilst imparting dubious advice upon his unsuspecting pupils. Allegra Marland really shone as Elizabeth – especially when standing her ground in the face of some fruity (old fashioned) male attitudes. But, honestly, all the cast were suberb and the play would have been diminished considerably had any of them been missing.
The set and props were deployed intelligently to convey a multitude of scenes and was lit creatively to focus the attention on the acting and push along the drama. The costumes were exquisite, with everyone looking extremely stylish.
Director Richard Eyre gave us a lean, taut production. The dialogue zipped along, giving the heartfelt moments (such as discovering the opposite sex, the realisation that work was not all it was cracked up to be and the sacrifices within marriage and in bringing up a family) more time to breathe and have the impact they deserved. But the most potent moment was surely the ending which was deeply affecting due to a commendably deft, light touch.
The story of interesting lives well lived; most certainly. But more than that, it’s an exploration of navigating the journey of life and those key relationships within it – and that’s what makes it such a fascinating, enjoyable watch as we recognise our own experiences on the stage. That’s not even mentioning the pleasure of all that incredible acting done so well. A crowdpleaser of a show, I have no hesitation in highly recommending it to you.
To that gem of a theatre, The New Wimbledon Theatre, to see this marvellously entertaining musical.
Calendar Girls is a musical by Gary Barlow and Tim Firth, which tells the well loved story of a group of WI Ladies from Yorkshire, who, after one of their number lost her husband to cancer, decided to make a calendar to sell in order raise enough money to buy a settee for the hospital relatives room where her husband was treated. After lots of argy bargy they decided to make it a nude calendar and went on to fight against other members and officers of their own WI , their own families and even the National WI Association to be allowed to do it. This was covered in the first act and which also covered the demise of the husband. There was plenty of amusing repartee between the ladies as well as plenty of fantastic songs. Pathos, comedy and wittiness made this an entertaining and emotional show.
On to act two which included the making of the calendar. This was hilarious with the ladies humming and hawing about taking part, and being photographed by a man whilst in the nude. Then the uproarious stripping and posing for the photographs. All this accompanied by more fabulous songs.
Then a smashing finale during which it was revealed that they had not only raised enough to buy a settee but there was enough money to build a new wing at the Hospital which was going to be named after her husband.
This play is based on a true story and includes all one would wish for to make for a wonderful night at the theatre! What the ladies accomplished went viral and the calendar sold like hot cakes not only in the UK but in many countries all over the world! Spin offs included films a play and now the musical. Just goes to show that from small acorns great oak trees grow!
I am not going to single out an individual for particular praise but Tanya Franks, Maureen Nolan, Lyn Paul, Amy Robbins, Paula Tappenden, Marti Webb and Honeysuckle Weeks as the Ladies,together with Colin R Campbell and Graham Macduff as the Husband and the Photographer all gave wonderful performances well deserving the standing ovation they received.
In conclusion this was a fabulous, entertaining, sad but funny play with marvellous songs and music well worth a visit. I loved it and would recommend it to all.
King Lear is a brutal play, filled with human savagery, unwise choices and misplaced trust which unfolds into widespread tragic events. Shakespearean legend, Kenneth Branagh directs and plays the title role in this whistlestop production, which runs straight through at just under two hours due to its heavily stripped text. The result of which robs the audience of its gravitas. There is not enough time to explore the chaos and cruelty, to develop and understand its crucial family and political dynamics and to ultimately realise the journey Lear embarks upon with those around him and most importantly with himself, rendering the conclusion confusing and cold.
There is no doubt that Branagh is a behemoth of an actor, and although he commanded the stage with majesty and was a delight to behold, however, unfortunately, his presentation of Lear was lacking. I fear this was because of the pace and the prose. He swung between extremes of emotion without fully embodying and exploring Lear’s drives and depths. It almost felt like I was witnessing Shakespearean speed dating, where I was getting Branagh’s best moves, impressing but not emoting. He was far better at capturing comedic moments, and thus had the audience laughing at some inappropriate moments, which jarred a little as Lear is essentially a tragedy.
Set in a very ancient, neolithic period of Britain, the cast swathed in furs, carrying sticks, stones, spears, designer Jon Bausor had set the action amidst great rugged stones that bring to mind Stonehenge. These expanded and contracted, had projections imposed upon them, of waves, faces, eyes and horses. Above was an orb, over which Nina Dunn’s projections and Paul Keogan’s lighting set changing skies, birds, the milky way and planets. There are 2 moments of complete blackout to perfectly accentuate key moments. All converged to create an atmospheric staging for King Lear.
Mara Allen as Curan was excellent. Corey Mylchreest is brilliant as Edmund, villain to the virtuous Doug Colling’s Edgar. Deborah Alli’s and Melanie-Joyce Bermdez as Goneril and Regan respectively were superb. Jessica Revell played the dual role of Cordelia and Fool wonderfully. Joseph Kloska as Gloucester deserves a special mention for his tremendous performance. The cast as a whole came together to do the best they could with the sad desecration of the play. Ultimately this production of King Lear has all the elements which ought to make it a sure-fire hit, but without the time to grow, to allow the tale to unfold, it’s a bit of a miss.
