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Park Theatre – until 3 June 2023

Reviewed by Claire Roderick

4****

Philip Ridley’s fiercely fraught drama about a family dealing – or not dealing – with past trauma is not an easy watch. The twists and turns as memories are shared, disputed and reimagined come thick and fast as the seemingly controlled life of Steven (Ned Costello) begins to fracture when he discovers his wife Debbie (Katie Buchholz) is pregnant.

At first, Steven appears to be the stable, successful and reliable brother, helping his mother Liz (Kacey Ainsworth) and alcoholic brother Barry (Joseph Potter). Barry is a talented artist, but his chaotic life has prevented him from focussing and achieving. As the brothers and their mother interact, it becomes clear that there is more than one version of events, and each of them has their own reasons for pushing their particular take on the truth. Liz’s steadfast determination to hold her family together and brush over any difficulties has caused the family to evolve into talkers, not listeners, who cannot really express their feelings. Her description of mental health issues and their effects as “the fluey-bug thing” steers the versions of the truth that she hears from her sons. As the play continues, the tension ramps up as Barry and Steven’s memories of their father and his funeral are set at odds and their roles in the family are reversed as Steven succumbs to the fluey-bug thing. The brothers’ final confrontation is staged masterfully on the sparse stage, with the reasons why their fierce, protective love for each other is tinged with guilt and hate finally being voiced. Costello and Potter complement each other brilliantly, with Potter’s manic and jittery Barry in early scenes becoming stiller and threatening as the play progresses and the character finds the strength to finally voice his truth. Costello’s portrayal of Steven’s descent into despair sees him physically squirm as he performs mental acrobatics to retain control of events. He is both frightening and pathetic as childish anger and pettiness erupt but watching him find the will and strength to refute Barry’s truth and cruelly and gleefully reassert his own version of their past, reclaiming control is frankly horrible as his gaslighting becomes turbocharged. Under Max Harrison’s direction, the change in dynamics of the brothers’ relationship is made clear physically as well as verbally, with the dominant man always circling their prey.

Kacey Ainsworth is wonderful as Jean, complicit in some of the lies the family tells itself but burning with love for her boys. Katie Buchholz is a blast as Debbie, the catalyst for the family breakdown and suspicious of her husband’s actions. The scenes between Debbie and Steven are full of marital tension, but compared to what the brothers are dealing with, these scenes are a welcome comic relief.

Staged in the round, Kit Hinchcliffe’s slick set has four benches around the edge of the stage. This means that the characters are sometimes speaking with their back to you, but the person they are talking to is always visible, so you see their reactions and cannot judge the verity of the speaker – adding to the atmosphere of doubting who to believe.

The cast portray the disturbing and frustrating characters brilliantly, tackling many questions about memory, truth and conflicting agendas with a rapier sharp touch. An excellent production.

Southampton Mayflower – 16 May 2023

Reviewed by Lucy Hitchcock

3***

Arguably the most famous opera of our time has been re adapted by Welsh National Opera to bring you a modernised version of Mozart’s brilliance.

Conducted by Teresa Riveiro Böhm, this incredible orchestra navigates us through the storyline and does not miss a beat in the slightest. We meet Tamino and Pamina, two young friends who have been separated from their childhood and we join Tamino’s quest to find and bring Pamina home to her mother, the Queen of The Night. Albeit a very easy storyline to understand, I did find myself longing for the magic and energy that Mozart originally created for the piece. The modern reworking is great, if you want to bring children along to their first opera, but I found the execution of some of the modernisations to be lacklustre and fell a little bit flat.

I also found that the reworking of the libretto to include more ‘funky language’ a little bit off putting – as I can’t imagine Mozart intending the word Awesome to be part of one of his best pieces! I must say however, that Quirjin de Lang’s portrayal of Papageno, a bird catcher who provided much needed comedic relief, to be a massive breath of fresh air and a driving force for this production.

If you want to see a modern, more hip version of a well known opera, this is definitely for you. An easy watch, perfect for children and young adults – sadly, I prefer traditionalism.

New Theatre Wimbledon – until 20 May 2023

Reviewer Alec Legge

4****

To the New Theatre Wimbledon, to watch this musical offering.

Curtain up and the scenery depicted a Cornish harbour and the cast roared out their first number, loudly and with gusto. It was amazing and awe inspiring, the audience visibly liking what they saw and heard.

From then on number after number was sung by the Fishermen with all the same enthusiasm with the audience showing their appreciation by loudly applauding each number. Not a sophisticated performance but a rip-roaring, foot stomping rendering of sea shanties as they should be performed and enjoyed.

Between the numbers there was lots of dialogue with innuendo, jokes and some non woke repartee!

It must be said that there as well as the Fishermen there were also impressive singing performances from Alwyn, Parisa Shahmir, and there was also a lovely scene involving the ladies of the cast led by matriarch Maggie, played by Susan Penhaligon at her best. There were also a number of musicians who appeared on stage playing all sorts of instruments, including harmonica double bass, guitar. accordion, banjo amongst others and a talented drummer whose instruments included a wooden box!

The story line of the Fishermen’s Friends path to fame closely followed the original film depiction and clever use of lighting and effects enable the audience to follow the story of the discovery of the singing group in their small Cornish harbour town by the clever, wily London agent Danny, Jason Langley, and to their eventual release of a hit album and their appearance on the pyramid stage at Glastonbury.

At the end of the performance the cast received a well deserved standing ovation. This was a really enjoyable theatre experience and I would heartily recommend this musical to all.

The theatre is a gem of its ilk, with good views from all seats. It also has wheelchair access to the stalls but not to the circle seats. which are all accessed by steps. The ambiance of the theatre adds itself to the enjoyment of a visit and it is situated in an area with plenty of restaurants and bars for pre theatre meals etc.

York Theatre Royal – until Saturday 20th May 2023

Reviewed by Michelle Richardson

4****

Northern Broadsides, in collaboration with New Vic, are once again treading the boards at York Theatre Royal. Under the direction of Laurie Sansom, Quality Street, a regency comedy written by JM Barrie, is playing until Saturday 20th May. The original Quality Street was written in 1901, before his most famous work, Peter Pan, was released. If anyone mentions Quality Street, we automatically think of the brightly coloured chocolate. In our house they came out in abundance every Christmas, in their purple tins. It may be surprising to know that these chocolates were named after the play.

Set during the Napoleonic Wars, Quality Street tells the story of two sisters Phoebe (Paula Lane) and Susan (Louisa-May Parker) Throssel, where the former is expecting an offer of marriage from the dashing Valentine Brown (Aron Julius). Unfortunately, his exciting news doesn’t involve a ring, but a commitment to King and country, he has enlisted to fight in the Napoleonic Wars. After a failed investment, made on Valentine’s recommendation, the sister have set up a school to make ends meet.

Ten years later Captain Brown returns to find Phoebe older, the curls gone, time has not been kind to her. She is heartbroken at his reaction, realise that she has been hiding from herself whilst he has been away. Due to some confusion she later introduced to Valentine by the maid Patty (Gilly Tompkins) as her niece Livvy, young and pretty, with ringlets and more than a passing resemblance to her aunt. Things soon get out of hand with the flirty Miss Livvy, before Valentine realises who he truly loves.

This is not the only story. Our first introduction is to a bunch of retired chocolate factory workers, played by the actors of the main play, inspired by the workers from the Halifax Mackintosh factory, discussing their lives and excited by the prospect of helping out with the production. Their inclusion came about after being invited to rehearsals and asked for comments. Their observations we so insightful and funny that it was decided to include them in the final play. I did find this a bit odd at first but as the show unfolded it added to the experience.

Some of the costumes were amazing. The colourful gowns worn at the balls were shiny, bright and in the colours of the famous sweets, purple, orange, you get the idea. Military uniforms, just look at pictures from the old tins. The music and choreography were a delight, with some modern touches.

I thought that it got off to a slow start, but that soon changed, especially after the interval. It was wonderfully acted by a diverse and talented cast. Lane as Phoebe, got to showcase her talent as the world-weary Phoebe and the spirited Livvy, complete with “out there” dance moves. She shared some great comedic timing with Parker as her sister Susan, especially as things start to unravel. Tompkins also created some great laughs with just her appearance on stage. It was lovely to hear the fabulous Yorkshire accent, even though I am not an original, there was even some scouse, courtesy of Julius. It is always great to hear some different accents from around the country.

I must say that this romantic comedy has some really splendid moments. None more so than the scene with Brown removing an ill “Livvy” from her aunt’s house, in order to deceive the noisy neighbours, the Willoughby’s. It was hilarious. I was laughing so much I had tears of laughter streaming down my face. I believe that is the first time that has happened to me whilst seeing a live show. Brilliant!

A sparkling mix of colours, shapes, and flavours, with romance and fun throw in. A show to lift your spirits.

Arcola Theatre, London – until 3 June 2023

Reviewed by Celia Armand Smith

4****

Mustard is described as “a one-woman show about heartbreak, madness, and condiments” by Eva O’Connor, the writer and performer behind the show. And that is exactly what it is. Originally performed at the Fringe in 2019, this show is about the relentless nature of grappling with mental health and how we cope, or don’t, in our own way.

We start at the end of a broken relationship that is maybe on the way to being mended, full of hope but still fragile. The main and only character known as E and played by Eva O’Connor enters carrying two shopping bags and a tale to tell. As the shopping bags are emptied over the space of an hour, she tells the story of how she met a handsome cyclist at a club, and ended up moving into his house in North London. What follows is a journey through the ups and downs of intense new love, and then an abrupt ending followed by a mental unravelling that takes her back to Ireland and a mother she has disconnected from. There is one constant throughout: mustard. A stinging coping mechanism available by the jar.

The story telling is vivid and coupled with an excellent use of the space. Directed by Hildegard Ryan, every inch of the stage is covered with props emptied from the bags. At one point a clothes line is unwound from E’s body, and clipped across the front of the stage whilst O’Connor never once breaks the rhythm. Nimbly moving through the prose, there are some light moments scattered amongst the darker tragedy of the piece.

By the end of the performance, we hope that E can find some inner peace, and that the mustard will loosen its grip. Self harm, heartbreak, and a general unravelling are tough topics to talk about let alone perform on a stage non stop for an hour (with a paddling pool full of mustard), and Eva O’Connor tackles them with a deft touch that is raw, powerful, and triumphant.

Casting announced for Sasha Regan’s All-Male
The Mikado at Wilton’s Music Hall and on tour

With new cast photo released

Following her critically acclaimed all-male productions of ‘H.M.S. Pinafore’ and ‘The Pirates of Penzance’, Sasha Regan is returning to Wilton’s Music Hall – the only surviving Grand Music Hall in the world – with Gilbert and Sullivan’s irresistible ‘The Mikado’ from Wednesday 7 June to Saturday 1 July. Press night: Friday 9 June at 7.30pm.

The cast is today announced as Declan Egan (as Bertie Hugh), Sam Kipling (Miss Violet Plumb), Lewis Kennedy (Mikado), David McKechnie (Mr Cocoa), George Dawes (Wilfred Lush), Aidan Nightingale (Albert Barr), Owen Clayton (Lily Tring), Richard Russell Edwards (Hebe Flo), Christopher Hewitt (Kitty Shaw) with an ensemble featuring Harry Cooper-Millar, Oliver Bradley-Taylor, Patrick Cook, Struan Davidson, Franciso Gomes, Elliot Akeister, Shane Antony-Whitely.

After Wilton’s Music Hall ‘The Mikado’ will tour to:
Theatre Royal Winchester 3  – 8  July
Theatre Royal Bath 10  – 15 July
Hall for Cornwall 20 – 22  July

One of G&S’s most famous operettas, featuring the songs “A Wand’ring Minstrel I”, “Behold the Lord High Executioner” and “Three little maids from school are we”, ‘The Mikado’ is traditionally set in Japan. But this vibrant production successfully pokes playful fun at British politics and institutions by  transposing the crazy storyline to an all-boys school in 1950s England. A school camping trip is visiting the far away land of Titipu – a place where flirting is banned on pain of death and where tailors can become Lord High Executioners but cannot cut off another’s head, until they have cut off their own!

Regan’s idea to transform these much-loved classics into all-male productions stems from her own experience performing Gilbert and Sullivan at a single-sex school. Her shows are renowned for playing on the unique humour it creates.

Creative team:
Director Sasha Regan
Designer Ryan Dawson Laight
Choreographer  Adam Haigh
Casting Adam Brahm
Producers Regan De Wynter Williams

Sasha Regan was recently awarded the Special Achievement Award at the Off West End Awards for her  contribution to musical theatre.

Regan De Wynter William’s 2022 production of ‘H.M.S. Pinafore’ was nominated Best Opera Production at this year’s Offies.

The Mikado
With music by Arthur Sullivan and libretto by W. S. Gilbert, was their ninth of 14 operatic collaborations. It opened on 14 March 1885, in London, where it ran at the Savoy Theatre for 672 performances, the second-longest run for any work of musical theatre and one of the longest runs of any theatre piece up to that time. By the end of 1885, it was estimated that, in Europe and America, at least 150 companies were producing the opera.

About Wilton’s Music Hall
Wilton’s is a Grade II* building of international significance as it is the only surviving Grand Music Hall in the world, the foremost arts venue in the East End, Wilton’s welcomes world-class artistic talent to the East End all year-round. Wilton’s programmes and produces extraordinary music and theatre, which speak to the magical space of Wilton’s and are enhanced by it. It is home to over 300 performances and over 80 productions each year. Wilton’s has been home to the first East End BBC Prom, hosted the London International Mime Festival and championed new writing including plays by James Graham, Patterson Joseph, Chris Thorpe, and Joy Wilkinson.  It has hosted international work from Hong Kong to Canada and the team of artistic associates have kept diversity at the heart of all they do. Recently named the fifth most iconic building in London by Time Out, Wilton’s has a unique spirit that has captured the imagination of generations of artists for over 160 years. Wilton’s invest in the next generation of actors, directors and musicians through its Heritage and Artistic Engagement programmes.

LISTINGS INFO
‘Sasha Regan’s All Male
The Mikado’

directed by Sasha Regan

Wilton’s Music Hall
Graces Alley,
London
E1 8JB

7 June – 1 July

Tuesday – Saturday at 7 30pm
Thursday and Saturday at 2.30pm

Running time:
2 hours 10 minutes plus interval

Age Recommendation: 6+

Venue Website  http://www.wiltons.org.uk/

Box Office: 020 7702 2789

Tickets: from £12.50

SHIRLEY VALENTINE

STARRING SHERIDAN SMITH

CELEBRATES 100 SOLD OUT PERFORMANCES

AT THE DUKE OF YORK’S THEATRE

100 SOLD OUT SHOWS (INCLUDING STANDING ROOM)

100 STANDING OVATIONS

100 EGGS COOKED!

The West End production of Willy Russell’s award-winning comedy Shirley Valentine starring Sheridan Smith tonight celebrates 100 performances at the Duke of York’s Theatre in London’s West End, with all 100 shows selling out (including standing room) and receiving standing ovations, from ecstatic audiences night after night.

The show’s producer, David Pugh, said, “Never in my wildest dreams did I think that in 100 performances every seat would be sold with every standing position filled. This is a phenomenal achievement for Sheridan Smith and Willy Russell and one as a producer I am so proud of.”

Willy Russell’s Shirley Valentine starring Sheridan Smith opened to wonderful reviews and public acclaim and continues its run at the Duke of York’s Theatre until 3 June 2023, with limited seats available for the final weeks. 

SHIRLEY VALENTINE is the joyous, life-affirming story of the woman who got lost in marriage and motherhood, the woman who wound up talking to the kitchen wall whilst cooking her husband’s chips and egg. But Shirley still has a secret dream. And in her bag, an airline ticket. One day she may just leave a note, saying: ‘Gone!  Gone to Greece.’

SHIRLEY VALENTINE is written by Willy Russell, directed by Matthew Dunster, designed by Paul Wills, with lighting design by Lucy Carter, sound design by Ian Dickinson for Autograph and is produced by David Pugh. 

Theatre Royal Windsor – until 20th May 2023

Reviewed by Ben Jolly

3***

Theatre Royal Windsor kick starts a new season of its Windsor on Air program taking us back to a time gone by with the supernatural comedy, Noël Coward’s Blithe Spirit.

Premiering back in 1941, this Coward classic shows the sanctity of marriage between Charles and Ruth blown to smithereens when a séance led by local clairvoyant Madame Arcati leads to the ghostly resurrection of Charles’ first wife, Elvira… chaos ensues.

The curtain rises on a cool, empty, period-dressed BBC recording studio – like a desolate theatre, the anticipation is palpable.

What has now become a staple of Theatre Royal Windsor’s programming, Windsor on Air is essentially a play within a play. The ensemble arrive at the studio one by one and take their positions, poised and ready, dressed in 50s attire to emulate a time when radio plays were at their height of popularity, attracting the biggest names to perform over the airwaves. We’re even treated to our own foley artist for the event, a feast for the eyes and ears indeed!

Blithe Spirit – rich in its fast and clever witt is a perfect choice for the series. The cast have a wonderful grasp of the language, rhythm, and nuances that are imperative to a Coward play and tackle the piece with gusto.

Tristan Gemmill is a splendid Charles, full of theatricality, he exuberates the charm, humour and rhythm this role deserves. Honeysuckle Weeks finds some wonderful moments in her performance of Elvira, Charles’ first wife and the two actors are fully supported by Ben Nealon and Marti Webb in the roles of Doctor and Mrs Bradman. Our Madame Arcati is played by Jenny Seagrove, who reminds us just how spellbinding this character is.

It is said that in the film and television business they refer to the public as “viewers” but in the theatre we’re called an “audience”, audio – a theatre audience are first and foremost there to listen; I found myself savouring the language in a way I only would get to in a setting such as this and especially when the play is dripping with delicious dialogue does it pay off.

With the huge popularity of podcasts and the rise in demand of audio theatre, I wonder when live radio plays will have their own resurgence over the mainstream wireless? In the meantime, a trip to the Theatre Royal Windsor for their On Air series will be just the tonic.

Leeds Grand Theatre – on tour until 1st July 2023

Reviewed by Dawn Smallwood

4****

Georges Bizet’s The Pearl Fishers (Les pêcheurs de perles) is an opera in three acts and based on his musical composition and Michel Carré and Eugène Cormon’s libretto. It was first premiered in 1863 in Paris. This production originally has been created as a ‘concert performance.’ However, for the performances in Leeds it is theatrically staged rather than a concert because of the closure and current refurbishment of Leeds Town Hall.

Set in a re-imagined coastal community in ancient Ceylon (Now Sri Lanka) where many undertake the dangerous seasonal work of diving for pearls, the story is about two men, Nadir (Nico Darmanin) and Zurga (Quirijn de Lang), who are friends, and both happen to fall in love with a priestess, Leïla (Sophia Theodorides), and triggers strong emotions and broken promises which threatens their friendships and their existence. Leïla on the other hand has sworn an oath of chastity as a priestess and yet is torn with her love for Nadir.

Many would be familiar with the infamous famous duet, Au fond du temple saint (At the back of the holy temple), which is sung profoundly by Darmanin and de Lang and other melodic musical numbers. The numbers summarise the unravelling of the plot in the opera and vocally projects harmoniously, provocatively, and emotively by the cast including James Cresswell as Nourabad and Chorus of Opera North under the baton of Matthew Kofi Waldren, direction of Matthew Eberhardt and movement direction by Laïla Diallo.

The performance is supported by Joanna Parker’s stunning and contemporary set with life size pearls (in the first act) and Peter Mumford’s lighting. It works well with a videographic background, courtesy of Parker and Mumford, which makes the staging visually and atmospheric pleasing.

The Pearl Fishers is a production one can dive deep into for Bizet’s ingenious lyrical music and beautiful libretto which is sung beautifully by the characters and Chorus of Opera North. A well-done recommended production which is successfully staged theatrically, and no doubt will be the case for the concert performances for other venues on this tour.

NEW COMEDY MUSICAL

MRS. DOUBTFIRE

TO HOST A GALA PERFORMANCE SUPPORTING
COMIC RELIEF
ON FATHER’S DAY: SUNDAY 18 JUNE

SHAFTESBURY THEATRE, LONDON

The new musical production Mrs. Doubtfire at the Shaftesbury Theatre in London will host a Gala performance supporting Comic Relief on Father’s Day, Sunday 18 June 2023 at 3pm.

Funds will be raised by the production and its audiences through bucket collections and card reader donations as well as selected ticket sales for the special Gala performance, continuingMrs. Doubtfire’sfriendship with Comic Relief, which included a performance on the BBC One Red Nose Day night of TV earlier this year.

About Comic Relief

Comic Relief uses the power of humour and popular culture to engage people to help others and raises money to support organisations working towards a just world free from poverty.

Our mission combines Comic and Relief. We believe that helping others can be easy and fun, even in the face of the challenges we encounter every day.

Everyone should be able to have a decent standard of living and to live life with dignity and respect – but right now, in the UK and around the world, poverty and injustice restrict too many of us. We know that a better world is possible. We provide funding to fantastic organisations who are closest to the communities who can make change happen. We support work that will help to alleviate poverty’s consequences, tackle related injustices and address the link between climate change and poverty.

For information about Comic Relief and the work it carries out, please visit www.comicrelief.com or follow @ComicRelief on social media for the latest content, news and information.

Comic Relief is the operating name of Charity Projects, registered charity in England & Wales (326568) and Scotland (SC039730).

About Mrs. Doubtfire the Musical

Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the ​alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.

Mrs. Doubtfire will introduce Gabriel Vick (Avenue Q) as Daniel Hillard. He will be joined by Laura Tebbutt (School of Rock) as Miranda Hillard, Carla Dixon-Hernandez (Matilda the Musical) as Lydia Hillard, Cameron Blakely (Newsies) as Frank Hillard, Marcus Collins (Kinky Boots) as Andre, Samuel Edwards (Anything Goes) as Stuart Dunmire, Ian Talbot OBE (Hairspray, and Director of The Mousetrap) as Mr. Jolly and Kelly Agbowu (Sylvia) as Wanda Sellner.

Further cast include Nicole Carlisle, Joshua Dever, Joseph Dockree, Rebecca Donnelly, Amy Everett, Maria Garrett, Kiera Haynes, Vicki Lee Taylor, Adam Lyons, Lisa Mathieson, Corey Mitchell, Ellie Mitchell, Matt Overfield, Rhys Owen, Christopher Parkinson, Micha Richardson, Tom Scanlon, Paulo Teixeira and Samuel Wilson-Freeman.

Mrs. Doubtfire also introduces Max Bispham, Elliot Mugume and Frankie Treadaway who alternate the role of Christopher Hillard and Scarlett Davies, Angelica-Pearl Scott and Ava Posniak who alternate the role of Natalie Hillard.

Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with Original Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick, and a Book by Karey Kirkpatrick and John O’Farrell (team behind the hit Tony Award-nominated musical Something Rotten!). Direction is by 4-time Tony winner Jerry Zaks (Hello, Dolly!), Choreography by Lorin Latarro (Waitress), and Music Supervision, Arrangements & Orchestrations by Ethan Popp (Tina: The Tina Turner Musical). Scenic design is by David Korins (Hamilton), Costume Design by Catherine Zuber (Moulin Rouge! The Musical), Lighting Design by Philip S. Rosenberg (Pretty Woman The Musical), Sound Design by Brian Ronan (Beautiful: The Carole King Musical), Hair Design by David Brian Brown (Frozen), Casting by Stuart Burt (Cabaret) and Children’s Casting Director is Verity Naughton.

Mrs. Doubtfire is produced by Kevin McCollum and Jamie Wilson and is presented by special arrangement with Buena Vista Theatrical.