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Birmingham Hippodrome – until 30 September 2023

Reviewed by Courie Amado Juneau

5*****

Black Sabbath and ballet seem like unlikely bedfellows. So left-field a concept that it made the show irresistible, especially given the approval and collaboration of original Sabbath band members, particularly guitarist Tony Iommi who was very closely involved.

The ballet falls into three acts. Act 1:“Heavy Metal Ballet” showcased ballet’s barrier breaking qualities whilst also presenting Birmingham to the world as a culture capital, through the music of Black Sabbath. From the darkness emerge our first troupe of dancers as Ozzy’s voice rings out with the opening lines of War Pigs. I really enjoyed Marc Hayward’s role as “Guitar Spirit”. Not only was his playing masterful (since he had a lot of interaction with dancers onstage) but the Gibson SG is synonymous with the band, so having it up there was like welcoming an old friend.

The stage’s darkness was almost a performer in its own right; it was certainly a presence! Perhaps a metaphor for Heavy Metal, 1970’s Birmingham, Sabbath themselves… During the show light boxes descended displaying iconic images from the band’s history. Minimal staging, but very apt with black and white being the predominant colours.

Birmingham Royal Ballet is world renowned for a reason and tonight’s performance showed why. The choreography was mostly modern with a smattering of more classical steps, giving something to please everyone. The “eternal kiss” (two dancers locked at the lips for an extended dance sequence) was just one highlight of a surprisingly romantic feeling work, in which the entire company brought unbounded passion and energy.

Act 2: “The Band” was even better than Act 1. I loved the voice overs from the original band members and Sharon too. Set against a backdrop of neon “strings”, it was subtle and perfectly pitched to concentrate the attention on the story of the band’s formation.

The music was superb throughout, giving us some of the band’s original music (both pre-recorded and newly orchestrated) as well as brand new material inspired by Sabbath’s songbook. A perfect way to pay homage to the band’s legacy past and present. Act 3: “Everybody Is A Fan” was the absolute pinnacle, beginning with all the dancers in the 70’s Sabbath t-shirts making this final act really vivid (seeing all those colours after the largely monochrome earlier acts was inspired!). The Guitar Spirit reappeared and eventually all the dancing groups assemble for the finale. The kitchen sink was thrown at this final act (including an impressive Demon atop an overturned car), making a powerful impact. To top it all off Tony Iommi himself appeared with guitar, joining the orchestra for the climax song “Paranoid”. The roof came off the place. I understand that this was a special guest appearance rather than being a nightly occurrence, so we were extra privileged to witness this. Everyone deserves enormous praise for putting this ballet together, not least Director Carlos Acosta as the driving force behind it’s conception. On the way home Black Sabbath was blasting out of the speakers and I was looking forward to future Birmingham Royal Ballet shows, all the while feeling proud of England’s second city. Job very much done! A wonderful show I cannot recommend highly enough.

53TWO, MANCHESTER – UNTIL 30TH SEPTEMBER 2023

REVIEWED BY ZOE BROWN

4****

Set beneath the brick rail arches of Manchester’s 53Two, one of few independent theatre venues remaining in Manchester (themselves in need of vital funding to continue their excellent work) sits the industrial, starkly lit, and smoke-filled stage. Two dominant screens showing rapidly changing, non-linear footage on a loop. This is Red Brick Theatre’s bold and fearless production of Simon Stephen’s fractured portrait of Britain in 2005 from the winning Olympic 2012 bid up to the aftermath of the 7/7 bombings.

Aptly set within Manchester’s own vastly burgeoning city centre, where it seems, the fast pace and homogeneous tone of city life is consuming our city, it feels right to explore the disparate voices of our citizens during this time, who all share a common theme; These are fractured people.

‘Pornography’ is written as a series of monologues and duologues by seemingly unconnected individuals, which can be interspersed randomly. It is uncomfortable viewing, as Stephen’s intended it to be. Deftly directed by Oliver Hurst we see, amongst others, the angst of a state school teenager, struggling to cope with adolescence lust for his teacher, and a dysfunctional home-life, spouting neo-Nazi ideology. A lonely widower past her ‘best before’ date and suffering the beginnings of dementia. Siblings twisted in incestuous misdirection. A man driven to a desire to destroy. It begs the question; in a Nation intent on growing rapidly, dominating the global market both politically and financially, Progressing for progress’ sake. Are we failing our citizens by creating such divisions and desires that will ultimately destroy us?

Standout performances from Isobel Ford, Matthew Haywood and Issac Radmore, particularly the latter, who, had to contend with a technical hitch meaning he was stopped mid-monologue whilst they re-set. Hats off to him for handling the situation with grace and composure.

What is most striking to me is the company’s successful use of multimedia, often a distraction in theatre, and yet every image, soundscape and video carefully complimented the action.

The use of a movement coordinator is well spent. With the cast crisscrossing the space in a purposeful hyper walk. Often over-lapping each other, gives the impression of a busy city centre. A slick transition into passengers on a tightly packed tube gives a chilling effect as we hear one of the 7/7 bombers, walk us through his movements on the lead up to exploding his bomb.

Red Brick Theatre describe themselves as a collaborative Manchester-based theatre company with a commitment to telling stories in an innovative way, through varying mediums. This show did not disappoint.

LAMBERT JACKSON BY AGREEMENT WITH CAA AND HYPHENATE CREATIVE PRESENTS

DARREN CRISS – IN CONCERT

EXTRA SHOW DUE TO OVERWHELMING DEMAND

2.30PM SHOW ADDED AT THE LONDON PALLADIUM ON SUNDAY 15 OCTOBER 2023 AT 2.30PM AND 8PM

WITH SPECIAL GUESTS STARKID’S LAUREN LOPEZ & JOEY RICHTER

Fresh from a hugely successful tour of Australia and the US, Emmy, Golden Globe, Critics Choice and Screen Actors Guild Award-Winner Darren Criss will make his West End debut at the iconic London Palladium on October 15th. Due to overwhelming public demand an extra 2.30pm performance has been added to the previously announced 8pm show.

Tickets go on sale at 10am on Friday 29 September

Criss will perform the hits of his career with his own four-piece band and special guests, Starkid’s Lauren Lopez and Joey Richter.

Musical fans get ready – this is a night you’ll never forget.

Darren Criss is a multi-award-winning actor, singer, and songwriter. Darren is best known for his portrayal of Andrew Cunanan in The Assassination of Gianni Versace: American Crime Story, for which he won a Primetime Emmy Award for Outstanding Lead Actor in a Limited Series or Movie, and for his leading role of Blaine Anderson in Glee.

He rose to prominence as a founding member of StarKid Productions, a theatre production company based in Chicago, playing the role of Harry Potter in, and co-writing music and lyrics for, their musical production of A Very Potter Musical.

A talented, multi-hyphenate artist, Darren has released a critically acclaimed EP, Human, and made his Broadway Debut replacing Daniel Radcliffe in the revival of How to Succeed in Business Without Really Trying, and his feature film debut in the comedy Girl Most Likely with Kristen Wiig, Annette Bening and Matt Dillon. Other screen credits include Royalties, Muppets Haunted Mansion, and Hollywood. He also performed at the 57th Presidential Inauguration for President Obama, First Lady Michelle Obama, Vice President Joe Biden and Second Lady Jill Biden.

Darren is also an advocate for LGBT rights and is the recipient of Variety’s Power of Youth Philanthropy Award for his contributions to the Trevor Project.

The London Palladium

Sunday 15 October 2023 @ 2.30pm & 8pm

To Sign Up for Ticket Access: https://lwtheatres.co.uk/whats-on/darren-criss/

Public on sale 10am Friday 29 September

Image attached.

Instagram and Facebook: @lambertjacksonproductions

Twitter: @ljprods

WORLD PREMIERE OF

13 GOING ON 30 THE MUSICAL

TO HOLD WORKSHOP 

PERFORMANCES FROM 

25 – 28 OCTOBER 2023

ROYO are delighted to announce that the world premiere of new musical 13 GOING ON 30 THE MUSICAL, written by the writers of the hit film of the same name, Josh Goldsmith and Cathy Yuspa, will be holding a two week workshop hosted at Battersea Arts Centre. During the workshop, there will be four script-in-hand public performances with a brilliant cast and live band on Wednesday 25 October, Thursday 26 October, Friday 27 October and Saturday 28 October at 7:30pm. The workshop will take place ahead of a run in Summer 2025. Casting is to be announced. 

13 GOING ON 30 THE MUSICAL is a stage reimaging of the beloved 2004 hit romantic comedy film that starred Jennifer Garner and Mark Ruffalo. It follows the story of Jenna Rink, an adorably awkward 13 year-old girl who wishes she could skip over the horrors of middle school. 

What does Jenna Rink want for her birthday? That’s easy. At thirteen years old, she wants one thing only – to be thirty, flirty and thriving. As she blows out her birthday candles, she magically wakes up seventeen years later: a thirty-year-old fashion magazine editor with a life that seems to be perfect. As she unravels the mystery of the person she has grown up to be, Jenna must work out what, and who, really matters. 

Josh Goldsmith and Cathy Yuspa, writers of the book and the original screenplay, said: “When we poured our middle school pain into the movie 13 Going on 30, we never quite imagined it would stick around to this day as a rom-com parents show their kids, a Halloween costume, a scene in an Ariana Grande music video, and a teen sleepover staple. Now we’re thrilled to be bringing our pain across the pond with 13 Going on 30 The Musical. It’s been endlessly fun working with ROYO, Todd Garner, Revolution Studios, composer/lyricists Alan Zachary & Michael Weiner, and director Andy Fickman to reinvent this story for the London stage. We can’t wait for a new generation to grab some Razzles and feel thirty, flirty, and thriving.”

13 GOING ON 30 THE MUSICAL will have music and lyrics by Michael Weiner and Alan Zachary (First Date (Broadway), High School Musical: The Musical: The Series (Disney+)) and direction by Andy Fickman (Heathers, She’s The Man). Casting for the adult company is by Will Burton for Grindrod & Burton Casting and casting for the children is by Keston and Keston. 

Purchase Tickets: bac.org.uk/whats-on

TikTok: 1330musical

X: 1330musical

Instagram: 1330musical

LISTINGS INFORMATION

25 – 28 October

Hosted at:

Battersea Arts Centre

Lavender Hill

London SW11 5TN

bac.org.uk

Box Office: 020 7223 2223

Tickets: £13.30

Criterion Theatre, Piccadilly- until 7th April 2024

Reviewer Alec Legge

5*****

A magic show performed by actors instead of conjurors/magicians? This idea came from the mind of Andrew O’Connor, writer and director, later joined by Darren Brown and Andy Nyman, and resulted in the show,’Unbelievable‘.

Not being a great fan of the genre, nevertheless I went along with an open mind expecting to see a magic show as of old!

Wow was I wrong in spades. Right from the outset it was very different and spectacular.

It opened with the appearance of a quartet of musicians led on stage by Laura Andresen Guimaraes, playing a saxophone almost as big as herself They were marvellous and entertaining and their performance started to dispel the thought that this was just another magic show!

Then came the magic part of the show. Masses of audience participation, mind blowing magic tricks with the whole cast being involved, on stage cameras showing close ups on screens so the audience could see what was happening, what a performance!

I don’t want to spoil future audience’s enjoyment by recounting the details of the tricks, suffice to say that the use of actors instead of professional magicians certainly brought a freshness to the show which justified Andrew O’Connor’s original idea of using actors.

The cast, Laura Andresen Guimaraes, Izalni Batista Nascimento Junior, Alexander Bean, Samuel Creasey, Simon Lipkin, Yolanda Ovide and Hannah Price all played there parts excellently and all deserve praise for their performances. I’m not about to single out any one of them for special praise but Simon, Andrew and Yolanda were prominent in performing the tricks whilst Laura, Izalni, Alexander and Hannah were equally prominent as the musicians. Well done all of them!

From the simplest to the most complicated all the tricks were presented skilfully and with dexterity, and I for one was really baffled by the results. I have given 5 stars for this show and they were well deserved. I would encourage everyone to see the show be they lovers of magic shows or not.

The Criterion Theatre itself is a medium sized theatre of 585 seats and is a gem. It has been extensively refurbished and the décor is fabulous. The stage was in view with no obstructions and it provided a wonderful setting for this production. It is in Piccadilly Circus just opposite Eros and round the corner from Piccadilly Underground Station.

RAYMOND GUBBAY LIMITED PRESENTS

THE NUTCRACKER, SWAN LAKE & SLEEPING BEAUTY

TOURING THE UK IN 2024

Raymond Gubbay Limited is pleased to announce that Varna International Ballet and Orchestra will return to UK after a hugely successful debut in 2023, with a repertoire consisting of THE NUTCRACKER, SWAN LAKE and SLEEPING BEAUTY.

The company will visit Cardiff, Manchester, Bristol, Buxton, Liverpool, Blackpool, Sheffield, Edinburgh, Nottingham, Darlington, Hull, Ipswich, High Wycombe, Wimbledon, Norwich, Reading, Southend, Basingstoke, Brighton, Northampton, Leicester and Oxford from December – February 2024. Tour dates are available in full here. 

The Nutcracker and Sleeping Beauty will be classical versions of the original, including sumptuous costumes and familiar choreography and settings.

Swan Lake will be a recreation of Tchaikovsky’s original production, that was created for the Bolshoi Ballet in 1877. Modern audiences are more familiar with the 1895 version that included musical and chorographical changes to the original by Marius Petipa and Riccardo Drigo, which was presented at the Mariinsky Theatre in 1895, two years after Tchaikovsky’s death. The producers of Varna International Ballet went back into the archives in order to return to the original score, orchestration and libretto, above all to preserve the original meanings that were at the bottom of the musical dramaturgy of the ballet.

Renowned for its award-winning soloists from the UK, France, Italy and Spain, and magnificent corps de ballet, the company has been delighting audiences for decades at home in Bulgaria and abroad with its performances of the highest quality.

Artistic Director Daniela Dimova and Music Director and Chief Conductor Peter Tuleshkov from Varna International Ballet and Orchestra said:

‘We are thrilled to be bringing our highly talented company of dancers and musicians back to the UK. We can’t wait to perform for British audiences again and to bring these magical ballets to life on stage.’

Varna State Opera was founded in 1947 by the renowned Bulgarian tenor Peter Raycheff. The main credit for the development of the ballet troupe goes to Galina and Stefan Yordanov who were Artistic Directors and choreographers for over 25 years (1960-1985). They formed the image of the Varna Ballet and brought it to the international stage and founded the first and now world-famous Varna International Ballet Competition in 1964. Since 2010 Varna State Opera and Varna Drama Theatre are united in one cultural institute called Theatre and Music Production Centre Varna.

The ballets to be performed this season are:

Swan Lake – The greatest romantic ballet of all time is brought to life by Tchaikovsky’s haunting and unforgettable score. From the impressive splendour of the Palace ballroom to the moon-lit lake where swans glide in perfect formation, this compelling tale of tragic romance has it all. From Odile, the temptress in black tulle as she seduces the Prince by spinning with captivating precision to the spellbound purity of the swan queen, Odette as she flutters with emotional intensity, the dual role of Odette/Odile is one of ballet’s most unmissable technical challenges.

Sleeping Beauty – Every child’s favourite fairy tale, this is the classic story of love and innocence, mystery and magic set to Tchaikovsky’s sublime score. Stunning choreography, sumptuous costumes and wonderful sets form the fantasy world in which the Lilac Fairy struggles against the evil Carabosse.

The Nutcracker – This most famous of fantasy ballets for all the family begins as night falls on Christmas Eve. As snowflakes fall outside, the warm glow of the open fire sends flickering shadows across the boughs of the Christmas tree and all the presents beneath. When midnight strikes we are swept away to a fairy-tale world where nothing is quite as it seems, toy dolls spring to life, the Mouse-king and his mouse-army battle with the Nutcracker Prince and we travel through the Land of Snow to an enchanted place where the magic really begins…

www.raymondgubbay.co.uk

THE WEST END & BROADWAY HIT IS BACK!

A Fiery Angel in Association with Queen’s Theatre Hornchurch production

John Buchan’s The 39 Steps, adapted by Patrick Barlow

From an original concept by Simon Corble and Nobby Dimon

UK TOUR  FROM 14 MARCH TO 27 JULY, 2024

They said it was unstageable! Four actors transport the audience into a world of dastardly espionage, breathless romance and daredevil escapes. THE 39 STEPS triumphantly returns to embark on a tour across the UK, launching at winner of UK Theatre’s Most Welcoming Theatre award, Queen’s Theatre Hornchurch on the 14 March, 2024 and ending by the sea at Southend Palace Theatre on 27 July, 2024 after visiting Richmond, Cambridge, Newcastle, Birmingham, Cardiff and Glasgow to name but a few from the 20 week tour! 

THE 39 STEPS is back out on a UK tour after nearly 10 years in London’s West End, taking Broadway by storm, playing in 39 different countries across the globe, and delighting over 3 million people worldwide with its quintessentially plucky spirit and dashing sense of fun. Originally written as a novel in 1915 by John Buchan, and made into a ‘BFI Top 5 British Film of all time’ by Alfred Hitchcock THE 39 STEPS is adapted by critically acclaimed and award-winning writer, Patrick Barlow from an original concept by Simon Corble and Nobby Dimon into a Olivier and Tony award winning international hit.

Follow the incredible adventures of our dashing hero Richard Hannay, complete with stiff-upper-lip, British gung-ho and pencil moustache as he encounters dastardly murders, double-crossing secret agents, and, of course, devastatingly magnificent women.

This wonderfully inventive and gripping comedy thriller features four fearless actors, playing 139 roles in 100 minutes of fast-paced fun and thrilling action.

This production celebrates theatricality and includes legendary Hitchcockian scenes from the chase on the Flying Scotsman and the Escape on the Forth Bridge, to the first ever staged theatrical Bi-Plane Crash and the sensational death-defying Finale in the London Palladium. The inventive set design by Peter McKintosh, allows the action-packed story to flow seamlessly from one location to another, and will be brought vividly to life by the talented and versatile cast of four (casting to be announced).

Patrick Barlow brings his unique brand of comedy to THE 39 STEPS. A playwright, screen-writer and director, Patrick’s work is adored worldwide, including the internationally renowned The 39 Steps.

Fiery Angel is a production company headed by Edward Snape and Marilyn Eardley and they are thrilled to be working with the extraordinary team at Queen’s Theatre Hornchurch to launch this tour. THE 39 STEPS is directed by Maria Aitken with movement direction by Toby Sedgwick.   Set and costume design is by Peter McIntosh, with lighting design by Ian Scott and sound design by Mic Pool. 

Find out more at love39steps.com

@39StepsPlay on Facebook, Instagram and TikTok

Hampstead Downstairs, London – until 28th October 2023

Reviewed by Celia Armand Smith

4****

Behavioural biologist Professor George Grey (Jemma Redgrave) lives in a university owned house with an octopus called Frances. Alongside her late husband, she wrote world renowned papers about Frances and her life in a tank in a living room. Enter Dr Harry Giscard (Ewan Miller), an anthropologist with bold new ideas about both Frances and George. They tumble and tussle with each other’s intelligence, taking in grief, love, sentience, and spirituality along the way.

Marek Horn’s pacy script is cerebral and funny. There are times when my internet addled brain can’t cope with the highly researched narrative, however those moments are fleeting and dormant parts of my brain fire up again. Under Ed Madden’s direction, the two characters take it in turns to narrate the piece, intertwining like two research papers being written on the same subject. It’s a bit like witnessing a TED talk in someone’s home whilst life goes on around them.

Running throughout there is a sparky and sweary humour and playfulness, and dancing to blasts of David Bowie tracks brings a welcome change in pace and tone. Octopolis is 100 minutes of at times incredibly complicated dialogue, but it is the charismatic performances by Miller and Redgrave that hold your attention throughout. Their relationship is believable and dynamic, and by the end quietly revelatory.

Anisha Fields’ simple yet effective design along with Jamie Platt’s vivid lighting is brilliant at creating the presence of Frances without ever seeing her. The tank runs the length of the stage, and changes in mood and emotion are revealed through a spectrum of colour changes from bright orange to red to a cooler blue. There are jets of foam and bubbling noises which serve as a signal for a new chapter and a new narrator.

Complex thoughts and ideas give way to the shifting emotions in a play that is profound and funny. It has huge themes, a small but clever space, and impressive performances. Enjoyable to the end, you come away having learnt something about octopuses and humans alike.

AHOY THERE LANDLUBBERS!
WEST END CAST ANNOUNCED FOR

CAUSING PAN-DEMONIUM THIS CHRISTMAS
AT THE LYRIC THEATRE

By Henry Lewis, Jonathan Sayer and Henry Shields

Based on Peter Pan by J.M. Barrie

Mischief, creators of the multi award-winning global sensation The Play That Goes Wrong, The Comedy About A Bank Robbery and Royal Television Society award-winning BBC comedy series The Goes Wrong Show, announce the West End cast of Peter Pan Goes Wrong which sails into the West End for 7½ weeks only at the Lyric Theatre this Christmas(Thursday 23 November 2023 – Sunday 14 January 2024, with a Gala Performance on Tuesday 28 November) before continuing to tour the UK.

Returning to the West End following successful runs on Broadway and in Los Angeles are Matthew Cavendish (Max), Harry Kershaw (Chris), Chris Leask (Trevor), Ellie Morris (Lucy), Charlie Russell (Sandra), Greg Tannahill (Jonathan), and Nancy Zamit (Annie, 23 Nov – 17 Dec & 11 – 14 Jan). They are joined by the current UK touring cast Jamie Birkett (Annie, 19 Dec – 10 Jan), Clark Devlin (Dennis), Matthew Howell (Robert) and Jean-Luke Worrell (Francis). The company is completed by Romeo Mika, Clare Noy, Consuela Rolle, and Phil Yarrow.

Co-penned by Mischief’s award-winning writing trio, Henry Lewis, Jonathan Sayer and Henry Shields, Peter Pan Goes Wrong is a highly physical comedy packed with finely-tuned farce and Buster Keaton inspired slapstick, delivered with split-second timing and ambitious daring. The play sees the ‘Cornley Drama Society’ back on stage battling technical hitches, flying mishaps and cast disputes as they attempt to present J.M. Barrie’s much-loved tale. But will they ever make it to Neverland?

Nominated for an Olivier Award for ‘Best New Comedy’ in 2016, Peter Pan Goes Wrong has enjoyed two West End seasons, a tour of Australia and New Zealand and two major UK tours. Original members of the Mischief company have just completed hugely successful Broadway and Los Angeles seasons of the production, winning the Drama Desk Award for ‘Unique Theatrical Experience’ and the Broadway.com Audience Choice Award for ‘Favorite New Play’. Peter Pan Goes Wrong has just begun a 6 month UK tour, visiting venues around the country until April 2024. BBC One broadcast a one-hour version of the show on primetime television in December 2016, starring David Suchet as the guest narrator, watched by an audience of over six million worldwide.

Peter Pan Goes Wrong is directed by Adam Meggido,with associate director Fred Gray, set designs by Simon Scullion, costumes by Roberto Surace, lighting by Matt Haskins and sound by Ella Wahlström. Original music by Rob Falconer and Richard Baker. Peter Pan Goes Wrong is regrettably produced by Kenny Wax Ltd. and Stage Presence Ltd. by arrangement with Mischief Worldwide Ltd.

New Wimbledon Theatre – until 30 September 2023

Reviewed by Amber Mills

5*****

Magical musical fantasy, where dreams come alive!

Shrek is a classic childhood film that was originally a fantasy comedy picture book published in 1990 by American book writer and cartoonist William Steig, about a mean lord who exiled fairytale creatures to the swamp of a terrifying, repugnant green ogre by the name of Shrek, who must go on a quest and rescue a princess for the lord in order to get his land back. Shrek ends up leaving his home to see the world and ends up marrying an ugly princess.

This big, bright, beautiful cast was remarkable. Each and every cast member was captivating and larger than life during the ensemble numbers, in particular, ‘Freak Flag’, I didn’t know where to look. Everyone really embraced their characters and took them to another level. They didn’t just play there bulk standard fairytale creatures, they went beyond and each added their own spice on top of the general characteristics which reinvigorated these fun-loving, lively characters.

In particular there were 4 dancing prisoners in ‘Donkey’s pot pie’ song who drew my eye. They brought the power, and pazzazz to this crazy routine. These dancers had chains around their wrists and ankles yet were still going full out with feeling and because of this it made it an even funnier moment to watch.

One of my favourite characters of the evening was Donkey, who was played by Brandon Lee Sears. Donkey is known for his talkative, but annoying demeanour, which Brandon portrayed fantastically!

His ecstatic energy and impeccable characterization had me in fits of laughter throughout the show.

Another talented member of the cast who stood out to me was Jonathan David Dudley for his superb multi-roling. He played the Captain of the Guard, Pied Piper and the Priest, all of which had totally different character qualities and to be able to switch between these roles throughout this show is a real talent when these are completely different types of characters. From his clear diction to his bold character choices Jonathan is a very versatile performer who I couldn’t take my eyes off of, even when not speaking in a scene.

I was also mind blown with Cherece Richards performance as the Dragon. It was a powerful but mellifluous performance that gave me shivers when watching. Cherece also plays the Wicked Witch but it was her performance in ‘Donkeys Pot Pie’ that really raised the roof for me.

To conclude the characters Fiona (Joanne Clifton) and Shrek (Antony Lawrence) in their duet of ‘I think I got you beat’ bounced off each other and gave a very fun, joyful performance. Joanne nailed Fiona’s split personality of a pretty, innocent princess, who also has tomboy mannerisms.

Anthony’s performance as Shrek throughout was solid and truthful.

The whole set of Shrek was very unique and true to the story, however a personal opinion of mine would be that in certain scenes the projector ruined some of the authenticity. In previous productions of Shrek there was a real bridge to the dragon’s castle which in my opinion made it more authentic but nevertheless the excellent timing that Shrek and Donkey had with the screen made up for it.

The lighting patterning and the costumes in this show really complemented the magical fairytale creatures. The way all of the costumes were vibrantly glitzed up just made the whole magical fantasy land even more life-like.

This was an extremely entertaining show that was casted very cleverly. It’s a show that brings back the magical childhood memories and is a must watch for all families!