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 The Kings Theatre Portsmouth – until 1st July 2023

Reviewed by Emma Barnes 

5*****

This production has its roots in The 1960 Little Shop of Horrors cult classic American B movie directed by Roger Corman.  The stage version is wacky and hilarious albeit a bit creepy and macabre.  Skid Row natives Seymour (Charlie Frame) and Audrey (Georgia Deloise) lead hapless lives as assistants in a flower shop. Dorky Seymour discovers a succulent which thrives on human blood.  The only way for him to impress his secret work crush Audrey is to nurture his bloodthirsty creation.  The result is the rollercoaster of clever juxtaposition between gruesome murder and genuine heartfelt romance.

The small cast delivered unwaveringly top quality vocals throughout, but the moment that truly showcased the talents of Charlie Frame and Georgia Deloise was the soaring duet Suddenly Seymour. A moment eliciting real goosebumps when the two unlikely heroes finally find love. 

Tom Wood is captivating as sadistic dentist Orin Scrivello who loves to deliver pain. 

It is however the strange and unusual plant, Audrey II that’s the real scene stealer. Stuart Warner provided killer vocals, and it was given real character by puppeteers Taylor Walter-Field and Euan Millar. The relationship between the voice and the puppet was seamless, with excellent comedy timing that really brought the alien plant to life. 

The final scenes are delightfully cringeful as the show comes to a dramatic conclusion when Audry finally finds her green place inside the vicious vegetation.    We were not sure whether to be happy or sad about the irony of this,  but it was thoroughly entertaining. 

This is local theatre at its best, another amateur production from The Kings delivering first class entertainment.

This mean green mother from outer space is bringing camp spoof, horror and fantastical comic book creepiness to the Kings Theatre until Saturday 1st July. Catch it before it catches you!

Grand Theatre, Blackpool – until 1st July 2023

Reviewed by Debra Skelton

5*****

“Reyt Good” says it all about Quality Street.

The original Quality Street is a comedy about two sisters, Phoebe and Susan Throssel who, during the Napoleonic War, end up starting a school for the children of the upper class in their home on Quality Street. This was to both help the children but also for the sisters who found themselves, through bad investments and lack of betrothal for Phoebe, at risk of losing their home. When her so called ‘suiter’ Captain Brown returns from the war, Phoebe realises she is tired of being an old spinster and so adopts an alluring alter ego ‘Miss Livvy’ – a flirtatious, energetic version of herself and one with whom Captain Brown falls for. Almost like Cinderella, Captain Brown, and indeed the rest of society, fail to recognise that Miss Livvy and Phoebe are one and the same and thus the contrast between her personae results in some brilliant slapstick comedy and class-based humour.

The history of Quality Street is as rich as the chocolates; it was written by J M Barrie in 1901 before he wrote Peter Pan. Due to the success of the play (especially in London where it ran for 459 performances) two films were produced, one in 1927 as a silent movie and then again in 1937 starring Katherine Hepburn. Such was the popularity that in the depression era of the 1930’s, Mackintosh chocolate factory in Halifax took the opportunity to use the sentimentality of all things regency and launched (my favourite) their perennial Christmas chocolates Quality Streets. The tin had bows and ribbons and featured on the lid images of Miss Sweetly and Major Quality, characters from the play.

Fast forward to 2020 and in preparation for revising Quality Street, Northern Broadside and New Vic Theatre decided to invite past workers from the Halifax Chocolate factory to watch rehearsals and get their view on their interpretation of the play. During rehearsals, the workers would tell stories of their time with the factory which prompted the idea to incorporate some of them into this new version.

The opening scene therefore begins with workers from the factory telling their stories and referring to the play that is taking place. This is kept up in various scenes which brings a nice touch to the inspiration of the chocolates themselves.

The cast themselves portray their characters superbly with a mixture of a scouse Prince Charming, Benny Hill and Bridgerton ladies.

Special thanks also needs to go to Laurie Sansom the director, Joe Price for original Lighting, Nick Sagar as Sound Designer/Composer, Ben Wright for Choreography and Lis Evans for the wonderfully exquisite costumes.

In short Quality Street is both delightful escapist entertainment and a critical behind-the-scenes look at Regency England. Well worth a watch.

Nottingham Theatre Royal – until Saturday 1 July 2023

Reviewed by Louise Ford

3***

Whoop-De-Dooper Bounce…

I’m sure everyone has a childhood memory of Winnie the Pooh, whether it’s the Disney film or the original books, written by A A Milne. This new musical production created by Jonathan Rockefeller uses music by the Sherman Brothers with some additional songs by AA Milne. It is a Rockefeller production with ROYO and in association with Disney Theatrical Productions. The show is touring the UK during 2023.

The production uses puppets to bring the story and characters to life. Everyone skips, hops or bounces onto the stage . The puppets are attached to the actors who merge seamlessly with their characters. The actors worked very hard and manage to convey the distinctive characteristics of each of the well loved characters. From the puzzled  Winnie the Pooh wondering where his friend Christopher Robbin is or where his next pot of honey is coming from, the  nervous Piglet, the melancholic Eeyore, the exuberant Tigger, the bossy Owl, the excitable Roo and caring Kanga to the irritable Rabbit they all make an appearance.

The set is deep in the hundred acre wood and starts with Christopher Robbin searching for Pooh. The air is full of birds, butterflies and most importantly, bees.

The storyline is a little confusing, it loosely follows the seasons. It includes snippets from the books and the Disney films; Pooh sticks, pots of honey, bouncing and Eeyore looking for his home, it just doesn’t hang together very well. Having said that I’m not sure any of the excited audience minded at all. They just loved the excitement of Tigger teaching Pigglet to bounce and of course singing along to The Wonderful Thing about Tiggers. It’s a gentle introduction to the world of theatre for all young children. So get ready for an early years adventure to the theatre.

JULIAN CLARY TO PLAY HEROD IN

THE AWARD-WINNING PRODUCTION

OF THE GLOBAL PHENOMENON
JESUS CHRIST SUPERSTAR UK TOUR

It is today announced that Julian Clary will play the role of Herod for the launch of the UK tour of the Olivier Award-winning reimagined production of Tim Rice and Andrew Lloyd Webber’s celebrated musical JESUS CHRIST SUPERSTAR. Julian joins the previously announced lead cast, Ian McIntosh (Jesus), Shem Omari James (Judas) and Hannah Richardson (Mary), playing Herod from 11 – 30 September and from 10 – 28 October, in Manchester, Newcastle, Aberdeen, Glasgow and Liverpool. Further casting to be announced.

Julian Clary said: ‘I am so thrilled to be a part of this amazing production and look forward to presenting my crazed, queer, imperious King Herod. I’m thinking Putin meets Cleopatra with a hint of Biggins.’

Produced by David Ian for Crossroads Live and Work Light Productions who present the Regent’s Park Open Air Theatre production, JESUS CHRIST SUPERSTAR embarks on a 2023/24 UK tour opening at Manchester’s Palace Theatre from 11 September 2023. It will then visit Newcastle, Hull, Aberdeen, Glasgow, Liverpool, Milton Keynes, Plymouth, Wolverhampton, Bradford, Nottingham, Ipswich, Cardiff, Edinburgh, Leicester, Stoke, Bristol, Crawley, Southampton, Norwich, Eastbourne, Birmingham, Oxford, Wimbledon, Woking, Sunderland, Canterbury, Sheffield, Llandudno, Torquay, Dartford, Cheltenham, Blackpool, Bromley, Inverness and Truro*. Further tour dates are to be announced.

Featuring lyrics and music by Emmy, GRAMMY, Oscar and Tony winners Tim Rice and Andrew Lloyd Webber, this production was reimagined by London’s Regent’s Park Open Air Theatre where it originated and is helmed by director Timothy Sheader and choreographer Drew McOnie. Completing the creative team is design by Tom Scutt, lighting design by Lee Curran, sound design by Nick Lidster and music supervision by Tom Deering.

A global phenomenon that has wowed audiences for decades, JESUS CHRIST SUPERSTAR’S iconic 1970s rock score was originally released as a concept album and opened on Broadway in 1971 at the Mark Hellinger Theatre.

The original London production ran for over eight years. By the time it closed, after 3,358 performances, it had become the longest-running musical in West End history at that time. Jesus Christ Superstar has been reproduced regularly around the world in the years since its first appearance, with performances including a Broadway revival in 2012, an ITV competition TV show called Superstar that led to casting Ben Forster as Jesus in an arena tour of the show, and a production at the Regent’s Park Open Air Theatre celebrating 45 years since the musical’s Broadway debut.

JESUS CHRIST SUPERSTARis set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ, as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.

This production of JESUS CHRIST SUPERSTAR won the 2017 Olivier Award for Best Musical Revival and the 2016 Evening Standard Award for Best Musical, selling out two consecutive engagements in 2016 and 2017. The production played a West End engagement at the Barbican in 2019 before returning to Regent’s Park Open Air Theatre in concert version during the summer of 2020. The UK Tour runs in tandem with the hugely successful North America tour of the production which has to date played over 700 performances in over 90 venues since the tour opened in October 2019.

The 2023-2024 UK Tour of JESUS CHRIST SUPERSTAR is produced by David Ian for Crossroads Live and Work Light Productions. The original production was produced by London’s Regent’s Park Open Air Theatre.

For additional information about this production, please visit www.jesuschristsuperstar.com

Facebook & Instagram: @JesusChristSuperstar | Twitter: @JCSTheMusical

*Julian Clary plays the role of Herod in Manchester, Newcastle, Aberdeen, Glasgow and Liverpool. Casting for other venues is to be announced.

Footloose the Musical brings a stellar cast to the stage

Award-winning north east theatre company, DarlingtonOS, is thrilled to announce the highly-anticipated casting of the beloved musical Footloose. This electrifying stage adaptation of the 1984 hit film will feature a stellar ensemble of talented performers who will bring the energetic and iconic story to life.

Set in the small town of Bomont, Footloose the Musical follows the rebellious teenager Ren McCormack as he challenges the town’s strict ban on dancing. This high-energy production promises to captivate audiences with its unforgettable music and heart-warming message of self-expression and the power of youth.

Leading the cast as Ren McCormack, the charismatic young protagonist, is Ben Connor. Known for his remarkable talent and captivating stage presence, Ben is the perfect fit to embody the rebellious spirit and infectious energy that Ren embodies.

Playing the role of Ariel Moore, the pastor’s daughter who becomes Ren’s love interest and partner in rebellion, is the immensely talented Rachel Geddes. With her remarkable vocal range and acting prowess, Rachel is set to deliver a powerful and emotionally charged performance, capturing Ariel’s fiery spirit and determination.

Joining the cast is the versatile Julian Cound who will portray the role of Reverend Shaw Moore, Ariel’s strict father and the enforcer of the dancing ban. Julian’s commanding stage presence and ability to convey complex emotions will add depth and complexity to this pivotal character.

Playing the spirited Rusty, Ariel’s best friend, is the talented Abbie Hand. Known for her exceptional singing voice, Abbie will bring a light-hearted and endearing quality to the character, making her an audience favourite.

Supporting this exceptional ensemble are a group of talented performers who will bring the vibrant townspeople of Bomont to life. The ensemble will showcase their diverse skills and dynamic chemistry in a range of memorable roles. The full cast list is as follows: Ben Connor, Rachel Geddes, Julian Cound, Sam Morrison, Joe Connor, Abbie Hand, Andrew Hamilton, Eddie Taylor-Jones, Nathan Walker, Lucy Adams, Lucy Ivison, Nathan Thompson, Grace Mansfield, Luke Oldfield, Scott Edwards, Zoe Kent, Neil Harland, Sarah Harland, Barry I’Anson, Ellen Dunbavin, Matthew Pegden, Jess Williams, Fran Hague, Carly Harris, Zoe Bellamy, Phil Bargewell, Ellis Crosby, Selena Blain, Jenny Davis, Joe Hodgson, Kyle Macdonald, Bethany Hill, Sam Morton, Sally Ivison, Adele McNally, Bertha Moyo, Darrien Wright, Madison Parkinson, Becky Porter, Annika Tang

Under the expert direction of Joanne Hand, the creative team is working tirelessly to create a visually stunning and emotionally charged production. With musical direction by Steven Hood, Footloose the Musical promises to be an exhilarating theatrical experience that will have audiences coming back for more.

DarlingtonOS Chairman Julian Cound said: “We are incredibly excited about the phenomenal cast we have assembled for Footloose. Each member brings a unique talent and passion to their roles, and we can’t wait to share their exceptional performances with our audiences.”

Footloose will open at Darlington Hippodrome on Wednesday 25 October and run to Saturday 4 November. Tickets are on sale now and can be purchased online at darlingtonos.org.uk or by calling the Ticket Hotline 01325 244659.

Theatre Royal, Brighton – until 1^st July 2023

Reviewed by Sue Bradley

4****

Written by Harry Hill and Steve Brown, this is a journey through the almost operatic arc of Tony Blair’s story, from peace-loving frontman of a college rock band, through becoming the Labour Party’s (or should that be ‘New Labour’s’?) most successful Prime Minister, to ending up a national outcast.

Sounds like it might be a bit grim? Well, it isn’t. Harry Hill’s telling of the story is shot through with his trademark adult version of schoolboy humour, with lots of one-liners and light-hearted banter. And Steve Brown’s songs are witty, clever and tuneful. It is slightly unusual to find a skilled composer who is also such a talented lyricist.

 Jack Whittle is a wide-eyed, handsome, and somehow perpetually shiny, presence as Tony Blair. Howard Samuels engages the audience regularly, playing a number of characters, most notably as a comically Machiavellian Peter Mandelson. With the exception of Tony, the entire cast take multiple roles and, interestingly, several of the key male characters are played by women, to great comic effect. Rosie Strobel’s Osama Bin Laden is particularly memorable.

We have become used to musicals having complex and colourful sets and  lavish costumes. This show is the complete opposite – the set is almost completely black, with only a couple of flashes of red. Almost all of the characters are in black suits, with one of the flashes being Tony’s red socks. I am almost surprised that the guitarist with the onstage band wasn’t instructed to play black guitars! The three piece band were effective and never over-loud – this is quite an achievement as the drummer sits centre-stage and is not screened off in any way. Impressive.

On reflection, I wonder if this monochrome approach to set and costume design is a coded message to suggest that things in politics are rarely as black-and-white as they seem?This is very much a show of two halves; the first is a whistle-stop tour through the years where Tony became the Labour Party’s darling and perhaps tries to cram in too much. The second half is a more measured affair as the problems in the Middle East and Tony’s approach to dealing with them lead to his eventual downfall. It also contains some of the strongest songs; the titles ‘Kill The Infidel‘, ‘Special Relationship‘ and ‘Whole Wide World‘ might give you a clue as to what’s in store.

Perhaps we have become so used to slick productions that the slightly madcap antics, deliberately ridiculous wigs, accents  and occasional ludicrous costumes give the show the feel of a highly rehearsed school production; the players all give top-notch performances, the choreography works beautifully, the sound design is excellent. It is just that somehow occasionally the show didn’t gel completely.

Nevertheless, this is an excellent night’s entertainment. The audience was brought to its feet well before the curtain call and we all found ourselves singing along happily in the last song. And there is a neat twist right at the very end.

This is a very good show that can only get better. Do yourself a favour; go and be reminded of what went on during the Blair years and have a good laugh at the absurdities of modern politics.

Greenwich Theatre – until 15th July 2023

Reviewed by Ben Jolly

3***

Philip Ridley’s classic play takes another outing, this time to Greenwich Theatre, just in time for this year’s Pride celebrations.

Vincent River is not a light, easy watch; this intense two-hander is told in real time and is set in a closed environment with no interval, add a heart breaking subject matter and you’ve set yourself up for a pretty painful night of events. The beauty of this play however, is that it doesn’t allow the subject matter to swallow it, instead the masterful Philip Ridley uses elements of humour, human emotion and a strong narrative to ride the wave.

We open half way through a stark and awkward conversation between two strangers, we soon learn that Anita has recently left her Hackney home and upped sticks to Dagenham where she sees the familiar face of the man who has been following her the past few weeks. Inviting him into her home, she plans to interrogate him (unbeknown to the stalker) on his intentions and find out where this recent fascination with her has come from. Through a slow but meaty conversation between the two characters we learn of the common interest and notice that both players are hiding their true motives. This compelling use of storytelling keeps us on the edge of our seats for the 90-minute run as Ridley drip feeds us just enough to want more and more as time goes by.

The cast of two are played by Kerrie Taylor as Anita and Brandon Kimaryo as Davey. Both are showing acts of bravery as they bare their raw emotion on stage, they have impeccable chemistry and ease which mirrors the characters as they in turn grow closer. Kimaryo is a masterful physical actor and will be one to watch when he is out of drama school (he is currently studying at Guildford School of Acting). Taylor, who thus far is mostly known for her work in television, plays the role of Anita with great emotional range and flawless character work. Some work on her physicality could be given attention, at times there were long moments of statuesque standing with hands on hips, half turned toward the audience – this stood out as someone just needing that dash of theatre craft. What let the production down somewhat was the lack of direction and use of environment; from the shoulders up the show was tight, but some more work within the physical space and making use of it instead of hiding behind would have elevated this production to the next level.

Whether on purpose or accidental, I’m not sure, but a common theme in the London theatre scene recently seems to be reviving plays that are well over a decade or two old (this play was originally staged back in 2000), but the themes and lessons are still, if not more relevant to today’s world – this production of Vincent River was no exception. You’d best be warned this play, the cast and the haunting imagery Ridley conjures up linger in the mind for some time.

Shakespeare’s Globe announce Sam Wanamaker Playhouse 10th Anniversary Season

‘There’s magic in the web of it’
Othello

Marking a decade since the Sam Wanamaker Playhouse opened, Shakespeare’s Globe is thrilled to announce the 10^th Anniversary Season, running from November 2023 to April 2024. Illuminated by over 100 beeswax candles, the Playhouse is an archetype of the Jacobean indoor theatre for which plays like Shakespeare’s Othello and The Duchess of Malfi were written and performed

• Henrik Ibsen’s Ghosts runs from 10 November – 28 January, adapted and directed by Joe Hill-Gibbins.
• Ola Ince returns to Shakespeare’s Globe to direct Shakespeare’s Othello, running from 19 January – 13 April.
• Rachel Bagshawdirects John Webster’s The Duchess of Malfi,ten years after it opened the first Sam Wanamaker Playhouse season in 2014, running from17 February – 14 April.

Christmas

• A new version of Hansel and Gretel by Poet Laureate Simon Armitage runs from 8 December – 7 January in the Globe Theatre, directed by Nick Bagnall.

Special Events

• Burnt at the Stake, or The Whole of the Truth, a special night of new writing, plays in the Globe Theatre on 13 October.
• The Sam Wanamaker Playhouse hosts new writing company HighTide’s Ghost Stories by Candlelight on 23 – 25 November.
• Tim Crouch makes his Globe debut with his acclaimed solo show I, Malvolio, running 30 November – 9 December.

Michelle Terry, Artistic Director, says: This winter, we’re so proud and excited to be celebrating the 10th anniversary of our unique and incredible Sam Wanamaker Playhouse. For over a decade now, the warm embrace of over a hundred beeswax candles has transformed stories and transported artists and audiences to worlds elsewhere via the most compelling and necessary of plays. And this year will be no different as we put the drama of the domestic right at the heart of this candlelit imaginarium. As the nights draw in, and the days get darker, we hope these beguiling and bewitching dramas will charm, inspire, and nourish as you step into the candlelight to celebrate 10 years of our wonderful Sam Wanamaker Playhouse!

For the first time, the Globe will stage a play by Henrik Ibsen, one of the most influential dramatists of all time. A searing exploration of family secrets and forbidden desire, Ghosts runs from 10 November 2023, until 28 January 2024. Its depiction of incest, infection, and euthanasia caused a scandal when it first premiered, and now, director Joe HillGibbins, in his Globe debut, brings the first modern tragedy to the Sam Wanamaker Playhouse. Joe Hill Gibbins is a British theatre and opera director. His directing credits include The Tragedy of King Richard the Second (Almeida Theatre) and Edward II (National Theatre), The Marriage of Figaro and Powder Her Face (ENO). Between 2007 and 2013 he was Resident Director and later Deputy Artistic Director at the Young Vic Theatre, where his credits include The Changeling, The Glass Menagerie, The Beauty Queen of Leenane, and A Respectable Wedding. Other directing credits include The Village Bike, Bliss, Family Plays: The Good Family & The Khomenko Family Chronicles, A Girl In A Car With A Man (Royal Court Theatre); The Girlfriend Experience (Royal Court Theatre and Drum Plymouth, Young Vic); and A Thought In Three Parts (Battersea Arts Centre). Ghosts will be designed by Rosanna Vize.

Ola Ince directs Shakespeare’s Othello running from 19 January until 13 April 2024, following her seminal 2021 production of Romeo and Juliet in the Globe Theatre. Ola debuts in the Sam Wanamaker Playhouse with Shakespeare’s blistering tragedy of unrestrained jealousy and manipulation, confronting the destructive impact of racism and misogyny on reputation and community. Ola Ince is a theatre, film, and opera director. She has most recently directed Once On This Island (Regent’s Park Open Air Theatre). Ola was an Artistic Associate at the Royal Court Theatre from 2018-2022, and Artistic Associate at the Lyric Hammersmith and Theatre Royal Stratford East in 2016. Other theatre credits include Christmas in the Sunshine (Unicorn Theatre); Heart (Minetta Lane Theatre, NYC); Is God Is & Poet in da Corner (Royal Court Theatre); The Knife of Dawn (Royal Opera House); Viral (Headlong Theatre and Century Films); Appropriate (Donmar); The Convert, Dutchman (Young Vic); and Twilight: Los Angeles 1992 (Gate Theatre).

Ten years after opening the Sam Wanamaker Playhouse in 2014, John Webster’s timeless revenge tragedy, The Duchess of Malfi, returns to London’s only indoor candlelit theatre, running from 17 February until 14 April 2024. Director Rachel Bagshaw makes her Globe debut with this anniversary production of Webster’s violent tale of misogyny and deceit. Rachel is a stage director and incoming Artistic Director at the Unicorn Theatre. Her recent theatre credits include A Dead Body in Taos (Bristol Old Vic/Wilton’s Music Hall), Augmented (Royal Exchange/Told by an Idiot) and Philip Pullman’s Grimm Tales for Unicorn Theatre Online. Other theatre credits include The Bee in Me and Aesop’s Fables (Unicorn Theatre); Midnight Movie (Royal Court Theatre); The Shape of the Pain (China Plate/Edinburgh Fringe/BAC/UK Tour); Resonance at the Still Point of Change (Unlimited Festival, South Bank Centre); The Rhinestone Rollers and Just Me, Bell (Graeae). Film credits include Let Loose (Unicorn Theatre Online/ENB) and Where I Go (When I Can’t be Where I Am) (BBC/China Plate).

On 13 October, Burnt at the Stake, or The Whole of the Truth will anonymously showcase writers premiering new work. This evening of storytelling revolves around one provocation to these writers: If no-one knew you had said it, what would you say? If you could tell ‘the whole of the truth’ what would you tell? This celebration of bold new writing in the
Globe Theatre is co-curated by Hannah Khalil (Writer, Hakawatis: Women of the Arabian Nights; The Fir Tree, Globe) and Morgan Lloyd Malcolm (Writer, Emilia, Globe; Mum, Soho). Globe Resident Associate Directors Naeem Hayat (Associate Director, The Comedy of Errors, Globe; Assistant Director, King Lear, Globe) and Indiana Lown-Collins (Associate Director, A Midsummer Night’s Dream, Globe; Director, The Solid Life of Sugar Water, Orange Tree;) will codirect.

Celebrated new writing company HighTide bring Ghost Stories by Candlelight to the Sam Wanamaker Playhouse from 23-25 November. Contemporary ghost stories and haunting folk music from the ‘Witch Counties’ of East Anglia will be directed by Elayce Ismail, and written by Kelly Jones, Shamser Sinha and Nicola Werenowska, with music and songs by Georgia Shackleton. Ghost Stories by Candlelight is a HighTide production, in association with Theatre Royal Bury St Edmunds, Harlow Playhouse and Shakespeare’s Globe. Recent productions include Kabul Goes Pop! and When The Long Trick’s Over (2022 UK Tours). Other productions include The Last Woodwose, Collapsible, Hey Diddle Diddle!, Luke Wright: Logan Dankworth, Pops, Rust, Status, The Old House, Since U Been Gone, Pink Lemonade (Aldeburgh Festival); and The Trick (Bush Theatre).

World-renowned artist Tim Crouch makes his Globe debut in the candlelit Sam Wanamaker Playhouse this winter, with his acclaimed solo show I, Malvolio, running from 30 November – 9 December. An hilarious and often unsettling rant from an actor adrift in front of an audience, I, Malvolio re-imagines Twelfth Night from the point of view of its most
notoriously abused steward. Part abject clown, part theatre-hating disciplinarian, Malvolio asks his audience to explore the pleasure we take in other people’s suffering. A story of lost dignity, prudery, practical jokes and bullying, this oneman act of storytelling alchemy draws us deep into the madness of Shakespeare’s classic comedy, suitable for ages 11+. Following the hugely successful I, Caliban, I, Peaseblossom and I, Banquo, I, Malvolio premiered at the Brighton Festival in 2010 and has since toured throughout the world. It is designed by Olivier award-winning Graeme Gilmour and was commissioned by Brighton Festival.

Playing in the open-air Globe Theatre, Hansel and Gretel runs from 8 December 2023 until 7 January 2024, the new stage production of Poet Laureate Simon Armitage’s epic version of The Brothers Grimm’s fairy tale. Directed by Nick Bagnall (Love’s Labour’s Lost; Two Gentlemen of Verona, Globe) and filled with music, magic, songs and a sprinkling of hope, Hansel and Gretel is aimed at everyone aged 5+. Simon and Nick return to collaborate at the Globe for the first time since The Last Days of Troy in 2014. Nick’s other work for the Globe includes Edward II, Love’s Labour’s Lost, The Two Gentlemen of Verona, Henry VI parts 1, 2 and 3, The Death of King Arthur, and Sir Gawain and the Green Knight.
Nick was the Associate Director of the Liverpool Everyman and Playhouse from 2014–2019 where his directing credits included Our Lady of Blundellsands, Sweeney Todd, A Clockwork Orange, The Big I Am, The Conquest of the South Pole, Romeo & Juliet, The Odyssey: Missing Presumed Dead, A Midsummer Night’s Dream and The Electric Hills.

The Fringe at Prestonfield announces an extra date for Janey Godley

 and a new show Julian Clary in conversation with Christopher Biggins 

The Fringe at Prestonfield is delighted to announce that following the sell-out success of Janey Godley’s forthcoming show Not Dead Yet on 18 August, the much-loved Scottish comedian has added a further date of 21 August to her Edinburgh Festival Fringe run at Prestonfield House hotel. The 500-seat venue has also added Julian Clary in conversation with Christopher Biggins to its star-studded line-up, taking place on 20 August. Booking is now open for both shows: www.fringeatprestonfield.co.uk / www.edfringe.com.  

‘Still alive, by popular demand’, Janey Godley opens the venue’s Edinburgh Festival Fringe programme after her record-breaking Scottish tour. She can’t wait to be back doing what she does best! Expect more hilarious anecdotes, straight from ‘the woman that wouldn’t die and shut up’. Janey, whose BBC Radio 4 show Janey Godley: The C Bomb is currently receiving rave reviews, said: “I can’t wait to be at this end of the town for the Festival. Unlike Mary, I certainly belong in a stable!” 

Julian Clary will join his friend Christopher Biggins for an evening of fun, chat…and who knows what!  The evening is part of The Fringe at Prestonfield: Hosted by Christopher Biggins series of events, with other confirmed guests including Dame Arlene Phillips and Stephanie Beacham. Sir Cliff Richard will also appear in conversation with Gloria Hunniford.  

Producers Denise Silvey, Christopher Biggins and Jane Compton (CDJ Entertainment), along with Prestonfield House hotel, are running the new Edinburgh venue, The Fringe at Prestonfield (venue 105), from 18-27 August 2023.  The 500-seat Fringe venue at Edinburgh’s prestigious and beautiful Prestonfield House will host an illustrious line-up which also includes Michael and Hilary Whitehall, The Barricade Boys, The Celtic Tenors and An Afternoon of Gilbert and Sullivan with further shows to be announced. 

THE LOWRY, SALFORD – UNTIL SATURDAY 1ST JULY 2023

REVIEWED BY MIA BOWEN

5*****

Strictly Ballroom danced its way into Salford last night and on opening night there was barely a spare seat in The Lowry as young, old, families and friends enjoyed two and half hours of exceptional singing, dancing and fun.

Strictly Ballroom The Musical is a musical theatre adaptation of the highly rated and critically acclaimed 1992 film, written and directed by Baz Luhrmann. Luhrmann is an Australian film director, producer, writer and actor, with projects spanning film, television, opera, theatre, music and recording industries. On the big screen he is best known for projects including William Shakespeare’s Romeo and Juliet (1996), Moulin Rouge (2001), Australia (2008) and Elvis (2022).

If you are a devotee of, Strictly Come Dancing you will be very familiar with Craig Revel Horwood, his precise and over-fastidious nature but mostly his love and passion for the amateur ballroom dance championships. Horwood played an integral part in the direction and choreography of this musical, along with co-choreographer Jason Gilkison, they are a match made in ballroom heaven, bringing together traditional musical theatre performances and ballroom dancing.

The musical follows the story of Scott Hastings (Kevin Clifton) a rebellious young ballroom dancer, who refuses to stick to regulation ‘federation steps’ in a competition and stands to ruin his chances of winning the prestigious Pan Pacific Championships. He struggles to find a partner to help break conformity but then meets Fran (Faye Brookes), who is full of enthusiasm but a beginner at the dance school.

Kevin Clifton is best known for being a professional dancer on BBC One’s Strictly Come Dancing, he has also proven himself again and again as an accomplished musical theatre performer. He is joined by Faye Brookes best known for her role as Kate Connor in ITV1’s Coronation Street and being a contestant in the 2021 series of Dancing on Ice.

The standout moment of the show for me came at the end of act 1, when Scott visits Fran’s family gathering in the bar. Jose Agudo, as Fran’s father Rico, teaches Scott to dance from the heart. Agudo puts on a jaw dropping (literally) and commanding display of the Paso Doble. He was phenomenal and stole the show. I felt the energy raise in the build up to the entire cast putting on a powerful routine, offering us quite the spectacle.

A special mention must go to Mark Walters for his spectacular set and costume design. As soon as the lights came on, you were transported to the world of glitz and glamour of ballroom dancing. The costumes were bright, cheesy and an array of colours with sequins and not forgetting the hideously fitted wigs (true to the film) across many of the cast.

Strictly Ballroom is a lot of fun with some superb performances, strictly brilliant! You will be foxtrotting your way home.