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Cambridge Arts Theatre, Cambridge – until Saturday 21st Oct 2023

Reviewed by Steph Lott

5*****

Set against the backdrop of 1920s England, “A Voyage Round My Father” is a poignant examination of a father-son relationship, one that is both heart-warming and heart-wrenching. Rupert Everett, in the role of the father, brings to life the character’s unique blend of brilliance, obstinacy and exasperating eccentricity. The audience finds themselves laughing at his antics one moment and moved to tears by his vulnerability the next.

Jack Bardoe, playing the son, delivers an equally remarkable performance. The son is an aspiring writer who grapples with the challenges of living with a father who is both clever and exasperatingly eccentric. Bardoe captures the essence of a young man torn between his own aspirations and the desire for his father’s acceptance and understanding. Bardoe’s portrayal is both heartfelt and compelling. Both Jack Bardoe and Rupert Everett do a fabulous job of conveying each of their characters in time as they age.

The chemistry between Rupert Everett and Jack Bardoe forms the emotional core of the play but the supporting cast also deserve much praise. They add depth and authenticity to the story, providing a window into the broader world of “A Voyage Round My Father.” There are some particular performances that are worth mentioning. Julian Wadham’s performance as the headmaster is touchingly comic as he obscurely lectures about sex to pre-pubescent schoolboys who have no idea what he’s talking about and Calum Reigate, as the son’s school friend, is charming and funny.

Richard Eyre’s direction sets a brisk pace and there is a lot of ground covered very quickly but this does not detract from the performance at all. The script is witty and sparkling and the set design by Bob Crowley is clever and evocative of the father’s beloved garden.

“A Voyage Round My Father” does not offer easy answers. The play reminds us of the universal struggle to connect with our own parents and come to terms with their imperfections and quirks.

“A Voyage Round My Father,” takes the audience on a poignant nostalgic journey through the complexities of the father and son relationship, and what changes and what remains the same as both parties age. This play is a testament to the enduring power of storytelling, and both Everett and Bardoe’s portrayals are remarkable. If you have the opportunity to see “A Voyage Round My Father,” don’t miss it; you’ll embark on an emotional voyage you won’t soon forget.

Southampton Mayflower – until 25th October 2023

Reviewed by Lucy Hitchcock

4****

The west end triumph has come to Southampton for a week of laughter, fun and a lot of fear!

This 4 strong cast, with added support from 2 ensemble characters are superb-perfectly bridging the gap between reality and what lies deep beyond death. We see Jenny (Louisa Lytton), a tired but loving mother who, after moving into her new house with her husband Ben (Joe Absolom) experiences ghostly noises and movements scaring her chronic. She is a witty character, with Joie-de-vivre, executed well by Lytton. After moving into the house, at 2:22am, a strange thing happens. Noises of a man, weeping, sobbing even whilst walking round and round in a circular fashion. The room, is Jenny and Ben’s new baby’s nursery. Terrified after 4 long nights of this nightmare, they invite their friends Lauren and Sam (Charlene Boyd and Nathaniel Curtis ) over for dinner and persuade them (with a contest but copious amounts of wine to soften to blow!) to stay until 2:22 that morning to witness the horror and eventually, try to prove Ben – a long time non believer of what lies beyond, that this could actually be a ghost.

The foursome are tremendous – this felt exactly like we were watching a dinner party and was so natural that I was engrossed in the performance. So engrossed in fact, that at every scare I was physically jumping out of my seat and exhaling profusely with the fear!

Eventually, 2:22am arrives and the noises are heard-footsteps, cries and wails. But what it is, is another matter. Ben, having come back from a business trip away and losing his phone his, ‘I’ll have you know’ convinced that this is foxes mating In the garden, Whilst Jenny believes it is Frank, the husband of the widow who sold the house to the couple. When scary things start happening, like the kitchen setting on fire of its own accord and the baby’s bear being dosed in white spirits, it is abundantly clear that this is a malevolent entity, or is it?

This is a play that needs to be seen to be believed and I urge you to go along and discover what lies beyond the grave. This is fabulous and well deserved of every audience member who attends.

Drayton Arms Theatre- until 21 October 2023

Reviewer Alec Legge

4****

This is a play which is based on Bizet’s Carmen. It is set in modern times and the cast are are pictured as members of the Army based in Cornwall. They consist of Pte Carl Jarvis, Jacob Mellers; Cpl Joe Donaldson, Langley Howard; both Sgt Lamb Military Police and Eddie Miller a boxer, Luke Harding; and finally Lt Davies Military Police as well as Luke the Boxers manager, Kevin Johnson.

It should be noted that up to just over 20 years ago it was illegal in the Army to be gay and while things have changed in that it is now illegal to be homophobic in the Armed Forces, many LBTG+ veterans are waiting to see if they will be compensated for losing careers and pensions because of their sexual identities.

The play opens with Carl doing a striptease performance at a gay party following which he is arrested by Sgt Lamb on charges of working a second job without permission and conduct to the prejudice of good order and military discipline, Sgt Lamb is shown at this stage to be strongly homophobic and pushes for the charges to be pursued resulting in the decision to send Carl to their headquarters at Falmouth. To this end Cpl Joe Donaldson is told off to be his driver/escort.

Both before and during the drive they become attracted to each other and although Joe reacts physically at times his attraction to Carl deepens. Then Carl persuades Joe to visit Eddie the boxer, whom he knows, before finishing their drive to Falmouth. There is more interaction between Joe and Carl but then Carl goes off with Eddie. As a result Joe returns to speak with Lt Davies who upsets Joe who punches and kicks him resulting in Lt Davies falling to the floor and striking his head. Joe thinks he has killed him and rushes back to find Carl and work out what to do next.

The play continues with the central theme of Carl’s and Joe’s deepening attraction and love for each other whilst things are crashing round their heads. Eventually things brighten for them but without giving too much away Carl comes to terms with his promiscuous and self destructive lifestyle and Joe comes out as gay. It also shows that gay relationships are not always promiscuous.

The acting in the play was first class from all four actors. But I would particularly spotlight Jacob Mellers performance as Carl for particular merit.

This is an interesting play which shows the love and violence which can ensue from an intense love affair whether or not it is homosexual or heterosexual. However,I fear the play is limited in its scope by its Army setting and reliance on Army procedures and laws for the plot to go forward. Would it therefore appeal to an audience unfamiliar with the situations which existed in the Army in regard to homosexuality and the present day fact that homophobia is illegal?

There are lots of swearing and portrayal of sexual acts in the play so I would only recommend it for adult audiences who are interested in this genre.

Festival Theatre, Malvern – until 21st October 2023

Reviewed by Courie Amado Juneau

5*****

The Merchant of Venice is of course the play with the “pound of flesh”. You know the one, although, you won’t quite know this version of it, being transplanted to the East End of London in 1936.

The use of contemporaneous music just before “curtain up” produces a “calm before the storm” effect which fine tunes the emotional triggers for what is to come – for although the Bard considered this a comedy, for me it is much more a tragedy (some humorous moments notwithstanding).

Director Brigid Larmour has not been afraid to make bold changes to the source material, perhaps the boldest being to change male characters into female ones – like the Jewish moneylender Shylock and Lancelot (into Mary) Gobbo. For some purists this might jar but for me this worked perfectly, without any detraction. I also loved the way the audience was included in the action, extending the emotional impact and engagement far beyond the edge of the stage, displaying keen directorial instincts.

Tracy-Ann Oberman gave an impressively nuanced performance as Shylock (I nearly said title character there, Shylock being so central). One moment in celebration with her people, the next subtly bargaining and scheming, the next distraught, then vengeful… A stunning performance that was nothing less than riveting. Her delivery of the “hath not a Jew eyes” speech was utterly compelling.

Speaking of famous Shakespearean lines/turn of phrases – this play is liberally sprinkled with tons of them: “All that glisters is not gold”, “If you prick us, do we not bleed?”… Although great swathes of the text are heavily cut, we have lost nothing of the essential greatness of this play.

Raymond Coulthard (as Antonio) got the joy of delivering the “…a stage where every man must play a part” speech. Another powerhouse performance from an actor totally in command of the material, I was spellbound. His wonderful rendition of Arragon was a joy as he unleashed the full throttled flamboyance of the Iberian peninsular. Flamenco-esque and one of my personal highlights.

Remember the title (1936)? The use of projection was a masterstroke here – showing newsreel footage of the British Fascists marches etc; bringing the powder keg times into sharp focus and reminding us that “old” attitudes are not as “old” as we would like to believe. A paltry word count, alas, prevents me praising each of the amazing cast in person. But I will make special mention of Gavin Fowler (Bassiano) and Hannah Morrish (Portia) whose scenes together throughout (especially the letter from Antonio revelation and the courtroom scenes) were particularly moving.

We return at the end to the Battle of Cable Street when Anti fascists stepped in where the police feared to tread. It’s never not the perfect moment for a ¡No Pasaran! stand. A timely reminder that humanity has virtuous qualities after all. The standing ovation had already begun… what a way to finish! A weighty, challenging piece that is nonetheless a most enjoyable evening’s entertainment and live theatre at its best. A production that will get many deserved plaudits, with a fabulous cast and taught direction. The best I’ve ever seen Shakespeare done and I wholeheartedly encourage you to get yourself a ticket asap.

Yvonne Arnaud – until 21^st October 2023

Review by Heather Chalkley

4****

This award winning adaptation of Daniel Waters film Heathers packs a punch. Appealing to a young audience, it delivers key messages about issues that every blossoming adolescent faces in their final years of high school. Based in America, the film is relevant to young adults everywhere.

First off, the quality of singing and music is outstanding all the way through. The score tells a story of consequences woven through a script full of love, hate, suicide, violence, abuse, bullying, sex, sexuality and murder!

Jenna Innes (Veronica Sawyer) puts every emotion out there, flipping through fear, joy, guilt and anger with passion and gusto. This is matched by the trio of Heathers (Elise Zavou, Verity Thompson, Billie Bowman). Each Heather representing a different aspect of what it is to be ‘popular’. Jacob Fowler (Jason ‘J.D.’ Dean) uses his physicality to pervade the stage with an eerie menace, overlaid with charm and intelligence. The build-up of J.D. and Veronica’s relationship and the intertwining darkness is painfully, realistically performed by Fowler and Innes. The light to balance the shade of the piece is provided by the jocks Kurt (Alex Woodward) and Ram (Morgan Jackson) who spent the majority of the performance in their underpants! The whole ensemble underlines the impact and consequences of your actions, which are so condensed and magnified in the high school environment. However the youthful joy of life and energy of being young bursts its way through in the song and dance.

The choreography and costume is sharp and direct, leaving you under no illusions that this is a high school full of energetic young people on a journey of discovery.

This is an in-your-face performance laying out some strong social challenges, which will not suit everyone. However, this piece is fast becoming cult viewing, a coming of age play that reaches into the hearts of every young adult.

Live Theatre, Newcastle upon Tyne – until 28th October2023

Reviewed by Sandra Little

4****

This latest offering from Live Theatre is a 3 part play based around the McCarthy family’s gatherings at a funeral, a wedding and a christening, over a period of 5 years. The play is described by Live Theatre as the centrepiece of their 50th anniversary season and is written by Elijah Young. The action takes place around the buffet table in a fairly sparse room and throughout the course of the play we meet five family members.

The first buffet follows a Catholic funeral for Evelyn’s (Jane Holman) husband where family tensions begin to emerge. Evelyn is not happy with her son David (Jim Kitson) and he accuses her of holding grudges. There are tense conversations about the will and how to deal with Evelyn’s husband’s ashes. Despite the gloom of this scene there is also humour. At one point Evelyn tells her family that they are divvying up her husband’s ashes not a traybake!

Act two takes us to the buffet for the wedding of David and his new wife Ayeesha, played by Amara Karen. This act involves a great deal of melodrama, argument and a fight! There is a dance routine but it’s definitely no competition for Strictly ! I felt that this was the most comedic of the three acts, however serious family tensions emerged . Suffice to say Evelyn arrives with an item that does not help the wedding atmosphere! She continues to express her strong opinions and tells other guests that she thinks that choosing purple as a colour theme makes the room look like a Dairy Milk advertisement!

The final scene is a Christening buffet. Family tensions continue to prevail and one of these issues, that runs throughout the whole play, is the relationship between David and his gay son Ellis, played by Nick Blakely. Ellis finds these family occasions very difficult to deal with for a host of reasons, however the final scene does have a very touching conclusion and I felt that there was tenderness and love demonstrated that people often struggle to express.

Throughout the play themes relating to loyalty, feelings of belonging, and also clashes of personality are explored. It is often apparently minor issues, such as seating arrangements at the wedding, that have a major impact on family relationships. I did enjoy this performance and found it an interesting and entertaining way to present a fairly familiar subject, namely family conflict. The themes explored will, I suspect, strike a chord with many members of the audience.

This play is recommended for ages over 14+ and does contain strong language.

Blackpool Grand – until Saturday 21st October 2023

Reviewed by Debra Skelton

5*****

Nottingham Playhouse presents The Real and Imagined History of the Elephant Man which is written by Tom Wright and directed by Stephen Bailey.

This can be seen at the Blackpool Grand Theatre until Saturday 21st October and must not be missed.

The play is based on the well know story of Joseph Carey Merrick born in Leicester England in August 1862 who became famous for his face and body deformities because of an undiagnosed illness.

At an early age, he began to show signs of a peculiar disorder which caused abnormal growths on much of the skin and bone across his body with his head increasing to 3 feet in circumference.

When his mother died and his father remarried, both his father and stepmother did not want him to remain at home so at 17, he went to live in a workhouse where he remained for four years before escaping to join showman Sam Torr. Merrick asked Torr to show him as a freak exhibition where he was displayed as ‘The Elephant Man’. Merrick stayed with the show touring around the East Midlands until he left to go to London.

In London he lived in a shop on Whitechapel Road where people would pay to see him. He did not stay long here as the shop was closed by the police, so Joseph moved to Belgium for a while until returning to England after being robbed by his manager and left alone in Brussels.

After finding his way back to London, he is taken to a hospital by surgeon doctor Frederick Treves who had seen Joseph and taken photographs of him when he lived on Whitechapel Road.

Joseph was allowed to live at the hospital for the rest of his life but had to endure the rich and famous people of Victorian London coming to visit him there. He died there at the age of 27 on 11 April 1890 from asphyxia or a broken neck. It is still not known for sure what Joseph suffered from, but scientists believe it could have been either neurofibromatosis type I or Proteus syndrome.

What I liked about this play was the way that Tom Wright looked at the view of Joseph himself and focused on him as a person and the way that he felt when people considered him a freak rather than a human being.

The cast themselves were unbelievable, especially bringing their disabilities into the production which only made this play phenomenal. Their talent, passion, energy, and enthusiasm shone throughout and just showed to me that you can achieve what you want no matter what.

Zak Ford-Williams an actor with cerebral palsy plays Joseph Merrick and by using his own condition instead of recreating Joseph’s actual appearance was a truly brilliant idea. Nadia Nadarajah, who is deaf, sensitively portrays Nurse Willison, who is tender and understanding towards Joseph. The rest of the cast included Annabelle Davis, Daneka Etchells, Killian Thomas Lefevre and Tim Pritchett who gave outstanding performances which led to a standing ovation at the end of the night.

A special thanks also needs to go to the creative and production team of which there are many in providing such and adaptable set, authentic costumes, lighting, and music.

Nottingham Theatre Royal – until Saturday 23 October 2023

Reviewed by Louise Ford

3***

My cup of tea? Etc… etc… etc…

I have fond memories of watching the 1956 Hollywood musical film of the King and I with the glorious Yul Brynner and Deborah Kerr. I hadn’t realised, not sure how it had passed me by, that the film was based on a 1951 musical by Rodgers and Hammerstein and didn’t just appear perfectly formed in all of its on screen glory. The film was nominated for 9 Oscars and won 5, including best actor for Bryner.

The musical and film are based on the novel by Margaret Landon which in turn was based on the memories written by Anne Leonowens. So there is a lot of history and interpretations in the mix.

The songs are familiar and catchy in equal measure although they don’t have the impact of some of their (Rodger’s and Hammerstein’s) more famous musicals The Sound of Music or Oklahoma, for example. What the songs and the musical does have is the post WW11 view of America, democracy and the West being best and the East being exotic, barbaric and in need of (scientific) education. I think that it is this tone or message that makes it an uncomfortable watch today. It should be an amazing story of a brave and adventurous woman and her son having an incredible journey in an area of the globe  that is going through changes and trying to assert itself in a developing world. Instead the story just reels out the Colonial prejudice and misogyny of the past.

I think that with some tweaks and a bit of a rewrite the story could have been updated to give a more meaningful and insightful view of the period. Whilst keeping the humour and clash of cultures and personalities at its heart.

But we are where we are and the current production, directed by Bartlett Sher started its UK tour in January 2023 and is due to transfer to the West End in 2024 is a faithful and energetic retelling of the story.

The set designed by Michael Yeargan is quite pared back but nevertheless manages to convey the Imperial Palace with the use of sumptuous fabrics, moving pillars and effective lighting (also Yeargan).

The musical opens with Anna (Maria Coyne) on board the Chow Phya  taking her and her son Louis (Charlie McGuire) to Bangkok. It is 1862 and Anna is newly widowed, she is taking up a new post as governess to the King of Siam’s 87 (and increasing) children. There is an ominous and impressive red sunset silhouetting the travellers . To keep their spirits up Anna shares with Louis her secret; that when she is afraid she whistles a happy tune. Cue ear worm!

Anna and Louis despite being advised against taking up the role by the kindly and concerned Captain Orton (Sam Jenkins-Shaw), venture onto the Palace. They are greeted with pomp and confusion by Kralahome (Kok-Hwa Lie), the King’s advisor. Who isn’t that pleased to see them. The King (Darren Lee) has a more subdued entrance on to the set, although he does become more dominant and charismatic as the story unfolds. Anna is played brilliantly as the clipped-vowel’d, up tight Victorian nanny/governess, all very Mary Poppins in a super large skirt! She does however get to let her hair down and expose her shoulders when attending the dinner dance for the visiting dignitaries.

The costumes by Catherine Zuber fall into two camps the neat and tidy Siamese dress and the over the top, absurd Victorian gowns worn by Anna.

The part that I enjoyed the most was the dancing and the ensemble production of The Small House of Uncle Thomas. The costumes and choreography were a delight.

The Nottingham audience were entranced by the production they sang along to the familiar songs, oohed and ahhhed  at the children (they were mischievous and appealing in equal measure) and were moved to tears at the final scene and gave the show a standing ovation!

Lyceum Theatre, Sheffield – until 21 October 2023

Reviewed by Alison Beaumont

5*****

For anyone that doesn’t know the story of Annie, it is about a young girl “Annie” who lives a life of drudgery in an orphanage run by Miss Hannighan. Annie is chosen to spend the Christmas period with a billionaire Mr Oliver Warbucks. Mr Warbucks falls adores Annie and wants to adopt her, but Annie is intent on finding her parents who left her at the orphanage all those years ago.

Annie is one of my all-time favourite films from my childhood so I was really excited to see this musical and I left as happy as when I went in.

Miss Hannighan was played by the famous Craig Revel-Horwood. His dancing, singing and acting skills are without doubt amazing, I’m not sure I will be able to look at him the same again on Strictly Come Dancing. He was just “fab-u-lous darling”. Some of the performances are being played by Jodie Prenger who I am sure will also make a brilliant Miss Hannigan. I do feel it would be poignant not to mention the late Paul O’Grady who everyone knew and loved who played this role, I’m sure both Craig and Jodie have found it hard to follow in his footsteps.

As is usual for the casting of roles for main parts for children each role has three children playing them and, on this occasion, Annie, was played by Harlie Barthram. Harlie performed exceptionally and sounded so like Annie she really did get the character spot on and was for me the perfect Annie. She captures Annie’s cheekiness and plays the role with such confidence. She wasn’t fazed by Sandy (the dog) when he was trying to find the treats in her pockets.

Amelia Adams is delightful as Grace Farrell and her vocal and acting skills make her the right choice for the maternal mother figure for Annie.

Molly on this occasion was played by little Chloe Angiama who was so cute and adorable.

All the children were very talented and have got bright futures ahead of them.

The orchestra was very good although I did feel that at times, they were a little bit loud when the children were singing but Harlie rose above it when she sang the iconic song “Tomorrow”.

This show is for all ages and will certainly not disappoint.

Doctor Who’s Colin Baker and The Archers’
Terry Molloy return in Sherlock Holmes’ The
Hound of the Baskervilles live on stage
UK Tour: March – May 2024

After delighting audiences up and down the country in 2022, Crime And Comedy Theatre Company are reuniting Doctor Who stars Colin Baker (Doctor Who, BBC; The Brothers, BBC) and Terry Molloy (The Archers, BBC Radio 4; Doctor Who, BBC) once more in their new stage adaptation of Sir Arthur Conan Doyle’s world-famous tale The Hound of the Baskervilles. Treading the boards in spring 2024, audiences are invited to this radio-play-on-stage, to be transported to the mysterious moors in this classic detective tale.

Once facing each other as mortal enemies as the Doctor and Davros in Doctor Who, Baker and Molloy, who is best known for playing the infamous Mike Tucker in The Archers for over 40 years, return as the iconic dynamic duo of Holmes and Watson respectively. Joined once again by Dee Sadler (No Place Like Home, BBC; All Creatures Great and Small, BBC) as Doctor Mortimer, this production brings to life one of the greatest detective mysteries ever told

Adaptor and director Martin Parsons comments, We originally staged this brand new adaptation of The Hound of the Baskervilles in 2022 to commemorate the 120th anniversary of its publication. But such was the popularity of the tour with audiences that we’re delighted to be returning to theatres in 2024. The key to its success was the pitch-perfect performances of Colin Baker and Terry Molloy in their portrayals of Sherlock Holmes and Dr Watson. We’re in for another treat and I’m thrilled to be able to bring two such fine actors together again on stage in these iconic roles.

The cast is completed by Kate Ashmead (The Importance of Being Earnest, Palchetto Stage; Educating Rita, Regent Theatre) as Mrs Barrymore and Martin Parsons (Doctor Who, Big Finish; Eric Chappell’s Ground Rules, UK Tour) as Jack Stapleton.

The setting is a radio studio, the actors ready as if for a radio broadcast, and the sound effects created live on stage, all combining to transport the audience from Baker Street to Dartmoor, as this tale of murder, mystery and horror is brought to life – surely the greatest detective story ever told! A rare chance to see these popular actors live at your local theatre, this is a play not to be missed.

Previous praise for The Hound of the Baskervilles:

Colin Baker was born to be Sherlock Holmes, Terry Molloy is my favourite Dr Watson to date. A phenomenal evening at the theatre, I can’t recommend this play enough! – ★★★★★ Entertainment Views

Colin Baker & Terry Molloy have terrific stage presence & their interactions sparkle – one not to miss! – ★★★★★ Cult Box

An immensely entertaining evening – ★★★★ West End Best Friend

Holmes & Watson at their best! – ★★★★ Sadie Takes The Stage

A well-judged production in every sense… a howling success! – ★★★★ Be My Guest

A master class in razor-sharp interplay – Henley Standard