Theatre Royal Haymarket – until 9th September 2023
Reviewed by Ben Jolly
4****
Flying into the Theatre Royal Haymarket this explosive new production of Dario Fo’s classic play fires on all cylinders.
Adapted by Tom Basden, Accidental Death of an Anarchist was first seen in Sheffield and after a sell-out run at the Lyric Hammersmith has transferred to London’s West End. Fo’s original play, billed as a “political farce” is based on the untimely death of Giuseppe Pinelli who died while in police custody for questioning over the 1969 Piazza Fontana bombing. The play made its debut in 1970 and it is a chilling thought to consider that despite over half a century having passed, the issues and themes the play brings up are even more relevant today.
Moments of manic intensity radiate off the stage right from the get-go as we are introduced to our ally and emcee for the evening, The Maniac – the conductor of chaos who ensures that we are entertained and provoked throughout. The Maniac is being questioned by Inspector Burton, where, seizing a brief moment of opportunity, he conjures a plan to escape to the infamous fourth floor of the police station, where the recent death of an anarchist took place. It is here when the farcical elements really take stride as The Maniac begins to unravel the tangled web of lies that have been reported on the moments leading to the death.
Daniel Rigby leads the pack with his commanding performance of The Maniac, a tour de force with heightened energy that is unparalleled to anything we’ve witnessed onstage in a longtime. His range, vocal and physical elasticity while holding the captive audience in the palm of his hand is a wonder to behold. There are, however, times when it is almost too much to handle and I think that the phrase “once is funny, twice is enough” should have been considered by Daniel Raggett who helmed the direction of this production. This production has many other strong core elements holding it together, a timely and relevant script that comes to life throughout, a fantastic supporting cast with Tony Gardner, Tom Andrews and Mark Hadfield delivering just the right amount of absurdness to compliment The Maniac’s tomfoolery, and a superb set designed by Anna Reid who has created a canvas that enables the chaos to take place within these walls.
The play fully succeeds in what it sets out to accomplish; it entertains with humour and through this, provokes uncomfortable feelings with the message of the rising stats in state related deaths while in police care. It is hilarious, loud, chaotic and messy, – a recipe for a beautiful disaster.
Sonia Friedman Productions (SFP) is delighted to announce that Kristin Scott Thomas (Electra, Darkest Hour) and Lily James (All About Eve, Pam & Tommy) will star in the world premiere of Lyonesse, a searingly funny and passionate new play by Penelope Skinner (The Village Bike, Fresh Meat) directed by Ian Rickson (Jerusalem, Uncle Vanya). Lyonesse will play a strictly limited season from 17 October – 23 December 2023 at the Harold Pinter Theatre. Tickets go on sale at midday on Thursday 29 June at www.lyonesseonstage.com.
Elaine (Kristin Scott Thomas) a reclusive and talented actress, disappears in mysterious circumstances. 30 years later, she finally feels ready to tell her story – summoning Kate, a young film executive (Lily James), to her remote Cornish home to assist with her glorious comeback.
But who really controls the stories we tell, and how we get to tell them? Will these women own their narrative, or will it be swept away from them at any given moment?
Lyonesse is a powerful story for our times by Penelope Skinner, winner of the George Devine Award for Most Promising Playwright for The Village Bike, and whose other works for stage include Angry Alan, Meek, Linda, The Ruins of Civilisation, Fred’s Diner, Eigengrau and F*cked. For screen, she was a writer on four seasons of Fresh Meat (Channel 4), wrote the film How I Live Now and, along with her sister Ginny Skinner, has created and written the upcoming TV thriller The Following Events Are Based On A Pack Of Lies (Sister/BBC1).
Kristin Scott Thomas and Lily James join forces for the first time on stage for Lyonesseafter appearing together in the Oscar and BAFTA winning film Darkest Hour (Working Title Films/ Universal) and screen adaptation of Daphne De Maurier’s Rebecca (Netflix/ Working Title). The play also reunites long-time collaborators Ian Rickson and Scott Thomas following their work together on The Seagull (Royal Court/ Broadway – for which Scott Thomas won an Olivier for her performance), Electra (Old Vic) and West End productions of Betrayal and Old Times (both produced by SFP). This will be Rickson’s twelfth collaboration with SFP including celebrated West End productions such as Jerusalem, Rosmersholm, Walden, The Children’s Hour and The Birthday Party. James last appeared on stage in the SFP production of All About Eve (West End).
Lyonesse will be designed by Georgia Lowe, with lighting by Jessica Hung Han Yun, music by Stephen Warbeck and sound by Tingying Dong.
Penelope Skinner said: ‘I am thrilled to be working with Ian Rickson to bring this story to life, alongside such a remarkable cast and creative team. I’m a huge admirer of both Kristin Scott Thomas and Lily James, and am so grateful for Sonia Friedman’s faith and vision in giving this new play a home in the West End. I was inspired to write Lyonesse after wondering what would happen if the dramatic action of a traditional revenge tragedy was flipped, so that the story instead became about the person upon whom revenge had been sworn. Themes of creativity, purpose, isolation, violence, magic and mothers rushed to join in with this central provocation, and the characters of the story came into being.’
Kristin Scott Thomas said: ‘Working with Ian is one of the great joys of my professional life. And a new play is such an adventure. Penelope Skinner’s writing had me gripped from the first page. I love the questions the story raises. Acting with Lily is starting to become a habit. Luckily it’s good for everyone!’
Lily James said: ‘I am thrilled to be joining this wonderful company. I have always wanted to work with Ian Rickson. When I received Penelope Skinner’s brilliant play, I read it in one sitting and adored it – I was utterly gripped by these strong, original characters. To work with Sonia Friedman again is an absolute dream but most importantly, I am so happy to be reunited with my friend, Kristin Scott Thomas.’
Jon Compson
BAFTA and Olivier winning actor Kristin Scott Thomas has extensive credits across stage and screen including the films The English Patient (for which she was Academy Award and Golden Globe nominated), Four Weddings and a Funeral (for which she won a BAFTA and Evening Standard British Film Award), Darkest Hour (for which she was nominated for a BAFTA), Nowhere Boy (for which she was BAFTA and BIFA nominated), Il y a longtempsque je t’aime (for which she was Golden Globe, BAFTA and César nominated), A Handful of Dust,Angels and Insects and Partir (for all of which she won Evening Standard British Film Awards and for Partir was also César nominated) and Gosford Park. On television she was nominated for an Emmy for her role in Fleabag and also recently starred in Talking Heads (BBC) and two series of Slow Horses (Apple TV) with the third soon to be released. Her debut feature film as a director, North Star, in which she also stars, will also be released soon. On stage, she won the Olivier for Best Actress for her performance in The Seagull (Royal Court/ Broadway) and was nominated for her roles in Electra (Old Vic), Three Sisters, Betrayal and Old Times (all West End). Other notable stage roles include playing Queen Elizabeth II in The Audience (West End).
Lily James is best known for her roles in films such as Baby Driver, Cinderella, The Dig, Yesterday, Mamma Mia: Here We Go Again, Darkest Hour, What’s Love Got To Do With It and TV dramas including Pam & Tommy (for which she was nominated for a Golden Globe and Emmy Award), War and Peace, Rebecca, The Pursuit of Love and Downton Abbey. Upcoming films released later this year include Relay, The Iron Claw and Finalmente l’alba. On stage she most recently appeared in All About Eve (West End). Other theatre credits include Romeo and Juliet (Kenneth Branagh Season, West End) and Vernon God Little (Young Vic).
‘Remarkable, tour de force one-man show… a teatime hour of unalloyed pleasure.’
The Daily Telegraph ★★★★
‘Gloriously funny’
Independent
‘A hugely accomplished impressionist, with the technical skill to jump in and out of a huge range of real-life characters in a beat.’
Chortle
“Kempner exudes a boosted confidence”
Dominic Cavendish, The Telegraph ★★★★
“The man is stunning, his voice is divine, his comedy is sensational
Ed Fringe Review ★★★★★
Star of Idiots Assemble: Spitting Image The Musical, currently on at London’s Phoenix Theatre in the West End, a regular on Steph’s Packed Lunch (Channel 4) and with over 10 million views of his online videos, comedian, top impressionist, singer, actor and now podcaster (Sh*t! I Married a Twin), Luke Kempner brings his brand-new show Gritty Police Drama: A One-Man Musical to the Edinburgh Fringe following a successful run of Macho Macho Man last year which he subsequently took on the road around the UK. Luke can be seen performing from 2nd – 28th August at 6.40pm at Pleasance Courtyard, Upstairs.
Join the heroes of Line of Duty, Happy Valley and Luther as they set out to solve the most treacherous murder they’ve had on their books yet: that of James Corden. It’s Line Of Duty meets Happy Valley meets Clarkson’s Farm, meets Match of the Day meets King Charles meets the Traitors. With around 60 impressions all played by one man…that’s one impression every minute! Whether you’re King Charles, Sir Ian McKellen or even Claudia Winkleman, in GRITTY POLICE DRAMA… no-one is safe.
A big year for Luke has seen him voice approx. 30 puppets including King Charles, Prince Harry, Michael Kane, Harry Styles, Ed Sheeran and Jurgen Klopp to name a few for Spitting Image Live at the West End’s The Phoenix Theatre along with voicing two series of Spitting Image (BritBox). Luke is also a regular contributor/presenter on Steph’s Packed Lunch (Channel 4) and has recently launched a brand-new weekly podcast series with his wife AlanaMacfarlane Kempner and her identical twin sister/co-conspirator Lisa Macfarlane, otherwise known as The Mac Twins – Sh*t! I Married a Twin and is making a weekly appearance as an elite guest on Love Island: The Morning After podcast.
Other TV appearances include The Last Leg (Channel 4), ITV2’s Stand-Up Sketch Show, Love Island Aftersun, It Takes Two (BBC2) and Celebrity Karaoke Club (ITV2). Luke is also familiar to television audiences with his regular appearances in the BAFTA winning Murder in Successville (BBC3), and as the breakout star of The Imitation Game on ITV1, which led to an appearance on The Royal Variety Performance (ITV1). His other credits include CelebAbility, Hey Tracey (ITV2) Catchphrase (ITV), Richard Osman’sHouse of Games (BBC2) and Pointless Celebrities (BBC1). Luke created and starred in his own review show for ITV2, entitled Luke Kempner’s Impression of 2015 and was the resident comedian on Celebrity Big Brother’s Bit On The Side (Channel 5) for 9 series. He is also a regular on BBC Radio 4’s topical comedy institutions The Now Show and News Jack.
After four years in the West End with Les Miserables, Avenue Q and South Pacific, Luke first garnered global attention in 2012 with his hit viral video Downstairs At Downton. He then took his one man show The Only Way Is Downton to theatres and festivals across the UK and U.S.A. 2018 saw Luke return to the Edinburgh Fringe for a sell-out run of his fourth show House Of Faces which he took on a UK tour followed by hit show Macho Macho Man at last year’s festival which he also took on the road.
EDINBURGH FRINGE LISTINGS INFORMATION
Luke Kempner –Gritty Police Drama: A One-Man Musical
Venue: Pleasance Courtyard – Upstairs
Date & Time: 2nd – 28th August at 5.30pm (excluding 14th August)
Actress and Prizewinning Poet Laurie Ogden is currently touring in The Ocean at the End of the Lane, playing the part of Sis. Due to showing at the Mayflower in Southampton from 4 July, tickets can be booked here
Lets start with a few favourites
Favourite show (whether you have been in it or not)?
Either Lucy Kirkwood’s The Welkin, or genuinely The Ocean at the End of the Lane. I saw its original production at the National Theatre, and still can’t believe I get to be a part of telling this story.
Favourite book?
Sorrow and Bliss by Meg Mason or Ella Frears’ poetry collection Shine, Darling
Favourite theatre?
Too tricky, they all have different vibes. I would really love to be in a piece of new writing at the Royal Exchange in Manchester.
Favourite song?
Currently, To Live a Life by First Aid Kit
Favourite type of music?
Folk or lofi hip hop.
Favourite food?
Any pasta, I’m obsessed.
Favourite drink?
Glass of malbec or a big cup of tea.
What is your favourite role so far?
Probably Laurie Jones, a chartist, in Victoria’s Knickers at the Soho Theatre. It was directed by the brilliant Ned Bennett & I got to wear a period drama outfit but attack someone with a chainsaw (and it was funny).
What was your first role?
A horrible schoolgirl bully in a radio play for BBC Radio 4.
And what role would you really like to play?
Tamora in Titus Andronicus.
If you weren’t a performer what would you be?
I’m a writer as well as a performer, so hopefully I’d just have more time to dedicate to that!
What made you decide to be a performer?
I’ve loved telling stories in all their forms since I was tiny. I tried really hard to not be a performer because I didn’t think it was possible, but being a part of the NYT REP Company showed me it was – it really changed my life.
How are you finding touring?
It’s very tiring, but it’s incredible getting to travel all over the UK and connect with different audiences. We are so lucky to play theatres that lots of actors dream of playing. Being on at the Liverpool Empire was surreal and incredible.
What advice would you give 16 year old you?
Don’t let anyone make you feel like you are not good enough because of who you are, or where you are from.
Do you fancy branching out in another avenue beyond acting e.g. Producing or Directing?
I’d loved to continue working as a writer and a dramaturg, and to have a bit more time to spend on that. Sadly I would be a rubbish producer.
What was the last stage show you saw and really enjoyed?
Godot is a Woman by Silent Faces, it’s a hilarious and surprisingly moving. It’s returning to the Edinburgh Fringe this year, hugely recommend it.
Favourite line from the show?
“What makes you who you are? Your face, or what you do?”
What are the nicest/weirdest things you have ever received from fans?
I received a lovely message from a young ginger girl who used to be picked on for her hair and being pale, and said seeing me made her feel confident. It made me pretty emotional.
Can you tell us what you will be up to next?
I’m currently playing Biddy in Great Expectations which is on BBC iplayer and FX in America. When this tour finishes I’ll just be having a big sleep!
“My far-and-away favorite production—and a complete surprise to me—was the musical “Operation Mincemeat… a comedy that has been cheerfully dismantling jingoism builds a stirring vision of real fellowship in its place.”
Helen Shaw, The New Yorker
“Hilarious tale makes Mincemeat out of its rivals…Before curtain I talked to a fan seeing this for the seventh time. I wondered why anyone would see the same show seven times. Now I know.”★★★★★ Neil Armstrong,Mail On Sunday
“irrepressible wartime musical is a West End triumph” Emma John, The Guardian
“LAUGHING so hard I could barely breathe is not what I expected for a musical about a World War II top-secret plan.…the perfect invasion of the West End. Long may they occupy it.” ★★★★★ Thea Jacobs, The Sun
It was announced today, 26th June 2023, that following Operation Mincemeat: A New Musical ‘the best musical in decades – a Hamilton and Book of Mormon love child’ garnering 59 five-star reviews and selling over 50,000+ tickets in the West End, the show has extended its run for the third time by a further six weeks until 4th November. Operation Mincemeat follows thirty-three hugely successful years of TheWoman In Black at the Fortune Theatre.
The news arrives after Sony Masterworks Broadway released the Original London Cast Recording digitally, followed by CD last week in the United States.
Tickets are on General Sale from the Official Box Office at here. Priority access to the best seats is available via the Official Operation Mincemeat Mailing list here
If you would like to enter the ticket lottery sign-up here. £25 tickets are available Wednesday – Saturday. The lottery is drawn every two weeks on a Monday, with the next draw taking place today.
After five sold-out development runs at the New Diorama Theatre in 2019 and Southwark Playhouse in 2020, 2021 & 2022, plus an extended Riverside Studios run last summer, Operation Mincemeat: A New Musical is back.
The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse.
Singin’ in the Rain meets Strangers on a Train, Noel Coward meets Noel Fielding, Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won us World War II. The question is, how did a well-dressed corpse wrong-foot Hitler?
The production is directed by 2023 Olivier Award nominated Robert Hastie (Standing at the Sky’s Edge, National Theatre – 2023 Best New Musical Olivier Award winner), following providing directorial support for the Riverside Studios run, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. Also from Standing at the Sky’s Edge at theNational Theatre on the creative team are: 2023 Olivier Award nominated Ben Stones (Sylvia, The Old Vic) as Set and Costume Designer, Tony Award, six-time Olivier Award and Bafta Award winning Mark Henderson (Girl From the North Country, Broadway & Noël Coward Theatre) as Lighting Designer and Olivier Award winning Mike Walker (Jerry Springer: The Opera, National Theatre) as Sound Designer. Grammy Award winning and Tony, Emmy, Olivier award nominated Steve Sidwell (Beautiful:The Musical, Broadway & Aldwych Theatre) is Orchestrator and Vocal Arranger. Georgie Staight joins as Associate Director and Paul Isaiah Isles as Associate Choreographer.
Operation Mincemeat won The Stage Debut award for Best Composer/Lyricist and the Off-West End award for Best Musical Production and Best Company Ensemble. Following the first New Diorama Theatre run, Operation Mincemeat was listed in The Observer’s Top 10 shows of the year and most recently was listed in The Independent’s Top 15 shows of the year. The show is currently featured in the V&A’s Re:Imagining Musicals display, exploring how musicals have continuously reimagined, reinvented and reinterpreted themselves over time.
The 2023 Off-West End Best Musical Production Award winning returning cast (Southwark Playhouse/ Riverside Studios), David Cumming, Claire-Marie Hall, Natasha Hodgson, Jak Malone and Zoë Roberts, are joined by: Seán Carey (returning Riverside Studios), Geri Allan, Christian Andrews and Holly Sumpton.
Operation Mincemeat is written and composed by David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts, who form SpitLip.
Operation Mincemeat is presented in the West End by Avalon (in association with SpitLip), who have supported since the Southwark Playhouse runs. The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.
Following its hugely successful UK tour and West End run, Sir David Suchet returns to stages across the UK in POIROT AND MORE, A RETROSPECTIVE, retracing his steps as a young actor. With a first stop at Cheltenham Everyman Theatre in January 2024, David will visit theatres across the country until March 2024. Further venues to be announced in due course.
Join us in conversation with the man, the actor and his many roles in an unmistakably unique event. A retrospective look at David’s career will have you witness some of his most beloved performances in a new and intimate light. Geoffrey Wansell, journalist, broadcaster, biographer and co-author of Poirot and Me, will be joining David as interviewer.
David Suchet said:
“I am utterly delighted to be taking this show back on the road after such a warm and wonderful reception to its first UK outing and West End run. Regional theatre is where my career began and was nurtured so I’m very much looking forward to sharing my stories, memories and favourite moments across the country again and visiting a number of new towns and cities that we couldn’t reach post-lockdown when theatres were still closed, particularly in Scotland and Ireland.”
For over 25 years he captivated millions worldwide as Agatha Christie’s elegant Belgian detective. Beyond Poirot, this Emmy award-winning actor has been celebrated for his portrayal of iconic roles such as Lady Bracknell, Cardinal Benelli and Freud. David has also graced the world’s stages bringing literary greats to life, including Shakespeare, Wilde and Albee.
Meet the actor behind the detective and the many faces he’s portrayed on stage and screen over a career spanning five decades. Discover why David Suchet is renowned for not only becoming the role, but also taking on the personalities of some of television, film and theatre’s most fascinating characters.
POIROT AND MORE, A RETROSPECTIVE is co-created by David Suchet and Liza McLean. The show was originally produced in Australia and New Zealand by Liza McLean and Andrew Kay and is presented in the UK by Liza McLean, Andrew Kay and Jonathan Church Theatre Productions.
JOCELYN BIOH’S TRAIL-BLAZING COMEDY SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY EXTENDS ITS RUN AT THE LYRIC HAMMERSMITH THEATRE
AWARD-WINNING WRITER JOCELYN BIOH’S HIT COMEDY SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY EXTENDS ITS RUN DUE TO INCREDIBLE DEMAND. THE SHOW WILL NOW PLAY UNTIL SATURDAY 22 JULY. TICKETS ON SALE NOW WWW.LYRIC.CO.UK
HAILED BY CRITICS AND AUDIENCES ALIKE AS ‘ONE OF THE FUNNIEST SHOWS IN LONDON’, THE PRODUCTION CELEBRATED ITS UK PREMIERE AT THE LYRIC ON 14 JUNE AND OPENED TO RAVE REVIEWS
★★★★★ ‘THE FUNNIEST THING ON STAGE THIS SUMMER’ The Independent ★★★★ ‘A SMASHING 80 MINUTES IN THE THEATRE’ WhatsOnStage ★★★★ ‘A TONIC AND JOY INJECTION’ Evening Standard ★★★★ ‘BITINGLY FUNNY’ Guardian ★★★★ ‘COMPLETELY INFECTIOUS’ Time Out ★★★★ ‘BRIMMING WITH HILARITY’ The Stage ★★★★ ‘A FANTASTIC ENSEMBLE’ Broadway World
THIS EXTENSION BUILDS ON THE LYRIC’S RECENT SELL OUT SUCCESSES (IPHIGENIA IN SPLOTT AND ACCIDENTAL DEATH OF AN ANARCHIST – OPENING IN THE WEST END THIS WEEK) WITH ARTISTIC DIRECTOR RACHEL O’RIORDAN’S EXHILARATING PROGRAMMING SET TO CONTINUE WITH A MAJOR REVIVAL OF THE MULTI-AWARD WINNING GOD OF CARNAGE THIS AUTUMN.
Lyric Hammersmith Theatre are pleased to announce that the smash hit School Girls; Or, The African Mean Girls Play by Jocelyn Bioh will extend its run until Saturday 22 July.
The UK premiere of the production, directed by Stage Award winner, Monique Touko, opened at the Lyric Hammersmith Theatre on 14 June to critical acclaim. Earlier this year, Idris Elba joined the project as an Associate Producer and together with Jocelyn Bioh continue their ambition to further shine a light on Ghanaian stories and West African representation in the UK.
School Girls; Or, The African Mean Girls Play brings together an 8-strong cast including Alison A Addo (The Lion King – Disney), Heather Agyepong (The Power – Amazon Prime), Bola Akeju (Ted Lasso – Apple TV), Deborah Alli (Undercover – BBC), Francesca Amewudah-Rivers (Bad Education – BBC), Jadesola Odunjo (You – Netflix), Anna Shaffer (The Witcher – Netflix), and Tara Tijani (Death in Paradise – BBC).
The Set Design is by Paul Wills, Costume Design by Kinnetia Isidore, Wigs, Hair and Make-up Design by Cynthia De La Rosa, Lighting Design by Matt Haskins, Sound Design by Tony Gayle; Movement and Choreography by Aline David, and Casting by Julia Horan CDG.
This production is produced in association with Mark Gordon Pictures and Francesca Moody Productions.
1986. Ghana’s prestigious Aburi Girls Boarding School. Queen Bee Paulina and her crew excitedly await the arrival of the Miss Ghana pageant recruiter. It’s clear that Paulina is in top position to take the title until her place is threatened by Ericka – a beautiful and talented new transfer student. As the friendship group’s status quo is upended, who will be chosen for Miss Ghana and at what cost?
Bursting with hilarity and joy, this award-winning comedy explores the universal similarities (and glaring differences) facing teenage girls around the world.
Biography
Jocelyn Bioh (Writer) is an award-winning Ghanaian-American writer/performer from New York City. Her written works for theatre include Merry Wives (Public Theater/Shakespeare in the Park, PBS Great Performances), Nollywood (MCC Theater), Goddess The Musical (Berkeley Rep) and the multi-award-winning School Girls; Or, the African Mean Girls Play which was originally produced at MCC Theater in 2017/2018 and has gone on to have nearly 60 regional productions in the USA. She will make her Broadway debut as a playwright with the world première of Jaja’s African Hair Braiding at Manhattan Theatre Club in the fall of 2023. She is a former TOW playwriting fellow (2017) and has been commissioned by MTC, Atlantic Theater Co., Williamstown Theatre Festival and Second Stage. Jocelyn has also written for TV on Russian Doll, Spike Lee’s She’s Gotta Have It, the new Hulu series Tiny Beautiful Things, the upcoming new Star Wars series The Acolyte and is also writing the live screen adaptation of the hit Broadway musical Once On This Island for Disney+. She was the 2022 recipient of the Outstanding Adaptation Drama Desk Award.
On the bare stage, apart from some wooden, white chairs, eight dancers take their positions. Dressed in simple garments of grey and shades of black: Jose Alves, Isabela Coracy, Alexander Fadayiro, Taraja Hudson, Sayaka Ichikawa, Rosanna Lindsey, Helga Paris – Morales and Ebony Thomas perform to the beautiful poetry recordings by: Hafsah Bashir, Natasha Gordon and Michael Shaeffer. Alongside these profound words, Daniel Pioro’s fabulous ‘Then and Now – variations on a theme by Heinrich Ignaz Franz vob Biber is played. It really was poetry in motion, such a rich tapestry of the arts – movement reacting to the sound and flow of ancient music and profound text.
Ballet Black’s programme is bold and innovative; and the work of choreographers William Tuckett and Mthuthuzeli November encapsulates the wide range of emotions that we, as humans, experience within our complex daily lives. My interpretation of ‘Then and Now’ was that this piece reflected on the relationship we have with nature and the sadness that will befall us unless we change and renew our love and vows to it. Since its formation in 2001, Ballet Black, a company for international dancers of black and Asian descent, always brings outstanding dance and we get the chance to see what makes them such a brilliant and necessary part of the British dance landscape.
Both pieces explore the complexities and vicissitudes of life and they do so in different modes. The result was an evening of stunning contrasts. ‘Then or Now’ and ‘Nina: By Whatever Means’ both celebrate and champion the diverse and daring ballet and both pieces give hope to what can feel like a turbulent and tempestuous world in their own and very unique and different styles. Intricate and precise movements, the dancers’ interlinking bodies conveyed so many messages and emotions.
‘Nina: By Whatever Means’ was simply stunning and the music and words were electrifying and as Mthuthuzeli November says, “Thank you, thank you Nina for everything” really says it all for what she gave us and the legacy she has left. It was a truly moving and inspiring performance and thank you Mthuthuzeli for bringing it to us but of course to the phenomenal dancers who were outstanding in every single moment.
Be Prepared for a show full of silly musical fun and games – Scouts! The Musical is a treat for all the family.
In partnership with The Scout Association, Gigglemug Theatre have created a wonderfully witty show that laughs along with, but never at, the characters in the show and their mission for badges.
At the annual scout games, the competition is heating up to win the fabled golden badge, and Ayesha (Sydney Spencer) is willing to do whatever it takes to achieve her goals. She just doesn’t understand fellow scout Joe’s (Joel Nash) approach to scouting – and life – enjoying new experiences and making friends as he learns new skills for life. When a sore loser with a grudge turns up and subverts the games in a bonkers bid to destroy scouting, Ayesha and Joe must work together to save the day.
With themes of friendship, co-operation, making a difference and being true to yourself, this could have been a sickly saccharine show, but writers Sam Cochrane and David Fallon have captured the gleeful anarchy of childhood and give Ayesha a heroic redemptive arc that rings true without overplaying the moral issues. The talented cast of multi-instrumentalist actors work together with a slickness and humour that is riotously infectious. Musical director Rob Gathercole is a hoot as cheerful but useless Luke and heroic ex-champion Linus Lionheart – riffing on the excesses of a multitude of wildlife and survival TV personalities, Emily Kitchingham is hilariously OTT as the evil Charlotte and Kemi Clarke is a joy as scout leader Dylan, falling to pieces as his big moment becomes a disaster. Katie Pritchard has enough energy to run the national grid as Rosie, with effortless comic timing. Joel Nash and Sydney Spencer are a fantastic duo, with Nash’s sweet, honest and slightly baffled Joe the perfect foil for Spencer’s target-obsessed Ayesha.
The whole cast have stunning vocals and make each of David Fallon’s songs memorable. It is amazing how the cast make the choreography look easy on such a tiny stage with their instruments. The comedy is fast and ranges from corny dad-jokes to scout in-jokes, hitting the mark with every age group at the press performance. Who would have thought that tying knots could be so entertaining? There is some audience participation in the competition, but it is all good fun and games and they seemed to be having a ball onstage.
Scouts! is a gem of a show, a high-spirited romp full of laughs and with a heartfelt message that is as inspiring as it is insane. This will go down a storm with audiences all around the UK – a new musical with a very bright future.
Sometimes, there is no need to tamper with perfection – and this musical adaptation of The Third Man is a prime example. Carol Read brought Graham Greene’s story of the dark underside of post-war Vienna to the screen with a scintillating class and style that has proved impossible to channel into this production, even for such a stellar creative team.
It’s 1947, and writer Holly Martins (Sam Underwood) arrives in Vienna on the promise of an opportunity from his old pal Harry Lime, only to discover that his friend has been killed in a road accident. Suspicious about the circumstances of Harry’s seemingly simple death, Holly begins to make enquiries, even after being warned off by the British army and Harry’s dodgy associates. As the truth about Harry’s immoral dealings on the black market are revealed to him, Holly grapples with his feelings about Harry and becomes more desperate to get to the truth.
Plotwise, the show follows the film, with nods to pivotal images and scenes – the zither player, the vicious parrot, the balloon cellar, the Ferris wheel – but this does start to feel like we are working through a list after a while. Perhaps a straight play could have maintained the tension and pace of the search for Harry Lime and been the mean and moody drama this story deserves. Unfortunately, adding musical numbers into the mix just slows everything down. While George Fenton’s music is enjoyable, it isn’t memorable and the song styles appear to be from three distinct shows. This may be the intent – highlighting the chaotic mix of people and lifestyles in Vienna at the time – but it jars. The book and lyrics by Don Black and Christopher Hampton are clunky and occasionally laughable – a real shock considering the duo’s pedigree. The attempts at film noir dialogue do not have the same dramatic heft between songs which include many a crime against rhyme to fit in Harry Lime. (Honestly, that could be a direct quote.) Paul Farnsworth’s starkly grey set, with handy piles of rubble for beggars to lie on, and the mostly grey palette of the costumes create a wonderfully seedy and dark atmosphere alongside Emma Chapman’s evocative lighting. Trevor Nunn uses the adaptable space of the Menier ingeniously to allow chases through the streets and sewers of Vienna. This works brilliantly in some scenes but can mean that some of the most iconic lines, delivered from the shadows on screen, are played in a corner, or on an exit aisle.
The cast give their utmost, Edward Baker-Duly and Jonathan Andrew Hume impress as the upright British soldiers on Harry’s tail, and Derek Griffiths is wonderfully frustrated as the doomed porter. Gary Milner is suitably mysterious and suspicious as Baron Kurtz, while Natalie Dunne does wonders with the woefully underwritten part of Anna. Sam Underwood’s loyal but naïve Holly is full of twitches and tears – making it much more explicit that Harry would probably have used him with thoughtless cruelty in his future plans. Underwood shows the physical pain of every revelation about his friend and keeps this frustrating character sympathetic. When Simon Bailey appears, the energy and pace of the show perks up, with a fantastic opening to act two. The cast have impeccable vocal skills and give their all to add emotional weight to such banal lyrics.
In one song Anna sings about music giving her life happiness and meaning – unfortunately that wasn’t the case for me watching this show. I love musical theatre, but The Third Man just doesn’t work. A real shame, as the cast and creatives have such incredible potential, but this show never emerges from the Viennese shadows.
