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Hull New Theatre – until 20th May 2023

Reviewed by Dawn Bennett

4****

Rock of Ages (presented by Dan Looney, Adam Paulden, Jason Haigh-Ellerby & Richard Klin for DLAP GROUP Sue Gilad and Larry Rogowsky) nearly took the roof off Hull New Theatre last night. I’m a big fan of rock music and musicals so this was a really good show for me!

Set in the 1980’s. Rock of Ages tells the story of The Bourbon Club on the West Hollywood Sunset Strip; the boss Dennis Dupree (played by the very talented Kevin Kennedy) has to fight the developer Hertz Klineman (Vas Constanti) who along with his son Franz (Scott Hayward) and the Mayor of West Hollywood (Adam Strong) want to demolish the Bourbon Room and the rest of the Sunset Strip. The story is a love story between Sherrie Christian (Gabriella Williams) a singer who comes to LA to find fame and fortune and Drew Boley (Sam Turrell) a rocker who moved to LA and dreams of stardom while working in the Bourbon Room. Dennis persuades Stacee Jaxx (Cameron Sharp, who plays the sleazy 80’s rocker really well) the lead singer of the band Arsenal to play at the club and raise some money to stop the club from being demolished. Drew asks Dennis to hire Sherrie but the path of true love doesn’t run smoothly for the couple and we then follow the story of their very rocky relationship! Gabriella Williams (Sherrie) and Sam Turrell (Drew Boley) were outstanding singers and it was great to watch them perform.

The stand out actor for me last night was Tim Oxbrow who played Lonny Barnet, he held the audience in the palm of his hand, he broke the fourth wall by talking to the audience (especially to Sue in the front row!!) and his timing was brilliant. Regina (Stephanie Chandos) and Franz (Scott Haywood) did an amazing duet their voices were excellent and Jenny Fitzpatrick who played the “Gentleman’s club” owner…wow what a voice!

The rest of the cast and the ensemble danced, sang and acted their hearts out they looked to be enjoying every minute of being on stage.

The music was fabulous with songs from Hit Me With Your Best Shot, Don’t Stop Believin’, Waiting For A Girl Like You and many, many more. The Band, Liam Holmes (Musical Director/Keyboards) Liam Stevenson (Guitar 1), Alex Ward (Guitar 2), Elliot Mason (Bass Guitar) and Steve Hynes (Drums) are so talented and played the very recognisable tunes brilliantly.

Is this musical fun? Yes! Is it entertaining? Absolutely. Is it loud? Oh, most definitely yes! Would I recommend it? Yes, and I’m off to watch it again on Friday!!

SELF TAPE : THE GROUNDBREAKING GAY PLAY

BACK BY POPULAR DEMAND

“WHAT HAPPENS WHEN YOU’RE IN YOUR THIRTIES AND YOUR DREAMS HAVE VANISHED?”

A ONE-MAN SHOW FOLLOWING THE DOUBLE-LIFE OF JONAS HARLAND,

A GAY JOBBING-ACTOR AND WEBCAM-MODEL.

Following sell out performances in April as part of their Queer Interrogation season the ground-breaking, critically acclaimed Gay play Self Tape is back for a limited run at The Kings Head Theatre from 18th June – 2nd July.

From self-tape auditions to performing as a gay webcam model, what price will Jonas Harland – a jobbing-actor & council-estate boy ‘done good’ – pay in his attempts to win the career he has always dreamt of? Money may be tight, but is it worth sacrificing his peace of mind, his personal relationships and the little joy that remains, for the risk of exposure as he descends into the world of cyber-sex?

☆☆☆☆☆ ‘Bold & unflinching, and that’s the naked truth’ The Recs

☆☆☆☆ ‘A fascinating story… very absorbing’ London Theatre 1

Self Tape is a new play written and performed by Michael Batten, and directed by Scott Le Crass, whose production of Martin Sherman’s Rose with Maureen Lipman is transferring to the West End this month. Sound Designby Julian Starr andLighting Designby Joseph Bryant. Intimate apparel is provided by deadgoodundies (www.deadgoodundies.com)

Sofi Berenger, Senior Producer at the King’s Head Theatre said:

“We are delighted to be welcoming back Michael Batten’s one man show Self Tape.  In its first sold-out run at KHT as part of Tom Ratcliffe’s Takeover season, audiences were bowled over by the frank conversation around online sex work, the plight of a stuggling actor and the searing story woven by Michael. It’s astounding that this is his first play and we are delighted to be supporting him and his play by giving it a longer run in our pub theatre.” –

Michael Batten said:

“I wanted to write a play about the parallels between self-taping and camming, where in the first instance we open ourselves up to get the dream role we’d love to play, and in the second we open ourselves up bravely, yet vulnerably, for other people’s sexual gratification, enabling us to get by and hopefully pay the bills. There’s a fine line between what we would and wouldn’t do as actors. Ultimately, it’s still performing, whether one ends in a curtain call or an orgasmic climax. They both end in some form of applause from someone watching in the dark.

I want the audience to come away thinking that we cannot know all of everyone, nothing is ever as simple as it seems, and we cannot judge. These are three main aspects that make up the play, which at it’s heart is about morality”.

Self Tape explores modern relationships; in-person & virtual, aiming to break the manifold taboos of sex-work. Written during lockdown, a period that saw an exponential rise in the camming industry, the piece holds a mirror up to contemporary society.

Tickets are on sale now at www.kingsheadtheatre.com insta: @michael.j.batten @kingsheadtheatre

Tim Rice and Andrew Lloyd Webber’s Evita

returns to London’s West End for special concert performances

‘Evita In Concert’ at Theatre Royal Drury Lane

this summer

Sign up for exclusive pre-sale released today;

pre-sale starts Friday 19^th May

https://lwtheatres.co.uk/evita

Tim Rice and Andrew Lloyd Webber’s Tony Award-winning Evita returns to the West End this summer in an all-star concert at the iconic Theatre Royal Drury Lane, accompanied by the 30-piece London Musical Theatre Orchestra (LMTO).

Evita In Concert will play Theatre Royal Drury Lane on 31^st July (evening performance) and 1^st August (matinee performance).

Auli’i Cravalho, the voice of Disney’s Moana and star of The Little Mermaid Live, makes her West End debut in the title role of Evita, alongside West End leading man Matt Rawle (Martin Guerre, Miss Saigon, Zorro) who returns to the role of Che.

Olivier Award-winner Bill Deamer (Follies, Top Hat, Cats) directs. Further casting and creatives to be announced.

A closed pre-sale (via sign-up link) starts on Friday 19^th May, with a general on-sale to follow in due course. Sign up for pre-sale is via: https://lwtheatres.co.uk/evita

Auli’I Cravalho comments: “I am absolutely thrilled to be playing the beautiful role of Eva Peron in Evita, one of Andrew Lloyd Webber’s most iconic leading ladies, alongside such incredible West End talent! My heart is so full to be part of ‘Evita In Concert’, held in one of the world’s most famous theaters. This is a dream come true!”

Evita, with lyrics by Tim Rice and music by Andrew Lloyd Webber, charts the young and ambitious Eva Peron’s meteoric rise to sainthood. Set in Argentina between 1934-1952, the musical follows Eva Duarte on her journey from poor illegitimate child to ambitious actress to, as wife of military leader-turned-president Juan Peron, the most powerful woman in Latin America, before her death from cancer at age 33.

Evita In Concert is produced by Fourth Wall Live and the London Musical Theatre Orchestra, and arranged with the permission of Andrew Lloyd Webber’s Really Useful Group. With lyrics by Tim Rice, music by Andrew Lloyd Webber, orchestrations by David Cullen and Andrew Lloyd Webber, based on orchestrations originally by Andrew Lloyd Webber.

Theatre Royal Drury Lane is owned and operated by LW Theatres. The venue reopened in June 2021 following a total, £60m, 2-year restoration.

Arcola Theatre, London – until 10th June 2023

Reviewed by Mitzi Luck

3***

We meet Rachel, played by Elf Lyons, and Nick, played by Nicholas Armfield, at a work Christmas party, where their romance begins. The first half of the play offers a seemingly light-hearted twist on a classic theme. Man and woman decide to have a sexual relationship, only to find there’s more emotion involved. The character’s personalities explode onto stage (sometimes quite literally with confetti) and bring a riot of witty one-liners to portray their ever more expansive sexual relationship.

The turning point happens when Rachel’s character takes over the traditionally male role, by strapping on a sex toy and taking control. The play could have explored the masculine fear of vulnerability with a richer tone, but does create space for it to be acceptable and light, which in itself takes down some of the sting of fear surrounding it.

The tonal shift between the first half and second does leave some questions regarding the writer, Lisa Carroll’s, intentions in the first half. Are we really meant to laugh at each characters repeated onslaught of requests from their partner? Has a serious message of consent been buried a little too deeply amongst the gags? These questions do, however, get one idea across – neither character is getting it right.

Rachel’s, played by Elf Lyon, soliloquy is powerful in its relentlessness. It displays a marked change in communication style with the audience and underpins our understanding of the message of the play – the frustration is apparent and uncomfortable. Elf Lyon displays her wonderful ability to convey a depth of feeling to the audience.

The Misandrist raises the question of if we set a woman up to fail through repeated trauma, why are we so alarmed when she does, in fact, fail – fail to be saccharine, vulnerable, and gentle? Why are these characteristics we have learnt to expect and feel shocked when they are absent? When a woman wears a stereotypically male transgression of being pushy, do we find it harder to stomach or would we have been horrifyingly familiar with it if the roles were reversed? These questions are left a little unclear in the portrayal of Rachel’s character, and it would have helped to have seen the male character of Nick, played by Nicholas Armfield, be fleshed out a bit further than the ‘nice guy’ that makes a mistake. The severity of his actions seemed, at times, swept under the rug, which might well have been Lisa Carroll’s intentions to portray reality.

Nicholas Armfield’s switch of character into Fiona, the work colleague, brings welcome comedic relief during the second half. Nicholas Armfield is wonderfully funny and convincing. The setting works excellently in its simplicity. The solo round bed structure in the middle doesn’t impose but is easy to understand used in all the contexts of the character’s lives.

The Misandrist provides ample opportunity to laugh – sometimes ruefully, sometimes gleefully. The actors and stage direction by Bethany Pitts come together to make a play that is engrossing and witty, which more than makes up for a lack of clarity in its messaging.

Nottingham Theatre Royal – until Saturday 20 May 2023

5*****

The beautiful auditorium of Nottingham Theatre Royal gave a wonderfully intimate feel to this beautiful musical.

Maury Yeston has produced magic to turn this tragedy into a thing of beauty. Assisted by Peter Stone’s strongly structured book, Yeston creates a vivid picture of shipboard life, with each class divided, each character deftly delineated, and tensions beginning to emerge between the managing director of the White Star Line, J Bruce Ismay (Martin Allanson), Titanic’s designer Thomas Anderson (Ian McLarnon) and Captain Smith (Graham Bickley), who all have different aspirations for the vessel and for who must take the responsibility for it all as they sing “The Blame”.

David Woodhead’s brilliantly designed set, helps director Thom Southerland move things along with great skill and flair. The scene leading up to the disaster, in the song “No Moon”, when the high tenor of the lookout rises above the babble of excited voices below, is atmospheric and eerily beautiful.

The cast of 25 take on many parts. Breaking hearts we have Billy Roberts as Mr Murdoch, who feels he is to blame.  David Delve and Valda Aviks as Isador and Ida Straus who refuse to be parted at the end and Joseph Peacock as the 14 year old Cabin Boy Edward.  Bree Smith as Alice Beane brings vibrant charm to a woman determined to rise above her station in life and have a good time and you root for a happy ending for Kate Mullins (Niamh Lang) and Jim Farrell (Chris Nevin) who want to rise above their station in America, a couple of the few who managed to escape from third class.

Danielle Tarento has produced something poignant and beautiful.  Godspeed Titanic

THE LOWRY, SALFORD – SATURDAY 13TH MAY 2023

REVIEWED BY MIA BOWEN

4****

Akram Khan’s much anticipated production of Jungle Book Reimagined, follows close on the heels of his 2021 production of Creature, an unearthly tale of exploitation and human frontiers. Jungle Book Reimagined, which had its world premiere in Leicester last year prior to the UK tour, is his new work based on the much-loved children’s classic by Rudyard Kipling. Akram has reinterpreted this original story from a different perspective; a cautionary tale of the footprint mankind leaves behind in nature, both in the cruel treatment of animals and the impact of climate change on our planet.

Jungle Book Reimagined tells the story of Mowgli, a young girl separated from her family following a global climate event. She ends up in an abandoned city overrun by animals, some escaped from zoos, testing labs and circuses. As in Kipling’s story Mowgli is initially adopted by the wolves Rama and Raksha, she befriends Bagheera an albino panther and Baloo an escaped dancing bear, who are put in charge of keeping her safe. But when Mowgli is kidnapped by the devious Bandar-log, escaped laboratory monkeys, Bagheera and Baloo join forces with the feared rock python Kaa to rescue their human friend. A more dangerous threat, though, lies in wait.

The complex storytelling is delivered in several ways by using effective multimedia. Art Director and Director of Animation, Adam Smith and Producer/Director of Video Design Nick Hillel, both of YeastCulture worked with Khan on DESH and their black and white digital animations projected on two semi-translucent screens at the front and back of the stage, adds a 3D depth and an immersive quality to what we see and to the story.

As well as Mowgli’s thoughts, we listen to the animals speak through the voiceover, giving it the magic touch of a storybook.

Khan’s choreography is imaginative and powerful, the 10 dancers are superbly coordinated and impressive, contorting themselves into a variety of shapes to represent wolves, panthers, bears and monkeys. The emotional essence is felt through the evocative score by Jocelyn Pook.

Not every story has a Disney ending and there is an important message at its core, this is a theatrical experience not to be missed.

Leeds Playhouse – until 27 May 2023

Reviewed by Dawn Smallwood

4****

Of Mice and Men, produced by the Leeds Playhouse, Birmingham Rep and Fiery Angels is visiting the Playhouse. Based on John Steinbeck’s novel and directed by Iqbal Khan, Of Mice and Men is about two migrants’ dream for a better life and a better belonging with security and identity. Atypical with many who pursue and proceed with similar dreams past, present and future.

This is the story of George (Tom McCall) and Lennie (William Young), two ranch workers, who move from place to place in California to try and find scarce work opportunities during the time of The Great Depression.

The harsh reality of that time enabled the pair to dream dreams for better things to come taking on work at Curley’s farm serves as a motivating factor. Encouragement is sought to motivate this further from Candy (Lee Ravitz), but this comes with its challenges including prejudice, racism and exclusion which makes the challenges of economic migration fiercer. It makes one question and challenge the premise of the American dream or similar ones in other countries.

This is so parallel today where many face displacing and marginalising situations to what George and Lennie and their fellow migrants faced in the story. Lennie has learning disabilities and George’s loneliness and sense of duty to Lennie are collectively solidified as the plot unravels. Loneliness, ignorance, and dreams are certainly factors among the ranch workers, Curley (Riad Richie) and his wife (Maddy Hill) whose loneliness becomes significant. A combination of circumstances, misunderstandings and varying personalities lead to tragic circumstances which left George and Lennie in a no-win situation.

A moving and thought-provoking ambient production with excelled performances from all members of the cast which is set to Ciarán Bagnall’s innovative and intimate staging and lighting. The themes do challenge, but they are ever so relevant today and a lot of thought and planning has been put into this emotive and provocative production.

Of Mice and Men may have been written more than 80 years ago but it testifies the same relevance and concern today as to the time of The Great Depression. A production to be considered!

The production is on at the Playhouse until the 27th May 2023.

Fortune Theatre – until 19 August 2023

Reviewed by Claire Roderick

5*****

This brilliant and bonkers show about one of the most brilliant and bonkers operations of WW2 is one of the best productions to hit the West End in years.

After acclaimed runs at Southwark Playhouse and Riverside Studios, The Fortune is the perfect home for this insane musical. A bigger budget adds polish and a truly glitzy finale, but the heart and soul of the show remains unchanged. (Just ask random strangers in the bars – you will bump into people on their umpteenth viewing.) The genius/gruesome plan devised by British intelligence planting fake papers about a bogus Sardinian invasion force on a corpse that would wash up on a beach in Spain for Spanish officials and German operatives to find has been portrayed on film – The Man Who Never Was in 1956 (very stiff upper lip) and Operation Mincemeat in 2021 (not even Colin Firth could save that one). It takes a special mindset to imagine that this bizarre deceit is prime material for a musical comedy, but luckily for us, SplitLip are that mad and the New Diorama Theatre were that brave. SplitLip’s (David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts) book, music and lyrics are genius (Are they ACTUALLY in MI5? If this is part of a plot to conquer the world through song and dance and clip-on ties, it could work…).

It is impossible to talk about the plan seriously, and SplitLip go straight for the comedy jugular, with most of the intelligence officers acting as if they are still in the common room of a public school and utterly convinced of their superiority. One of the intelligence men is Ian Fleming, providing a lovely running joke as his colleagues tell him how terrible his writing is. As the man child behaviour carries on, the women in the office sing a fabulous Beyonce style number about the opportunities the war has given them. The efforts to find a suitable corpse and to provide a credible life story and paper trail are fascinating and very, very funny, especially when Jak Malone’s kinky coroner is onstage. It’s not all plain sailing, with a possible double agent, some bizarre coincidences and shoddy preparation creating jeopardy and comedy gold.

Natasha Hodgson is breathtakingly brilliant and has a ball playing Ewen Montagu as a complete chancer leading the man with the plan, meek outsider Charles Cholmondeley, astray as Monty plans for a bright future living off the acclaim and fame that will inevitably be his. David Cumming is wonderfully awkward as Charles and Claire-Marie Hall is a joy as secretary Jean Leslie – the plucky gal role if this was a 1950s film, but here a fully rounded young woman relishing being valued for her ideas and not her tea -making. Zoe Roberts is deliciously daft as our hapless man in Spain, and is also the calm, mature axis of the show as Johnny Bevan, watching the antics of his men with increasing frustration and disbelief. Jak Malone is hilarious as the creepy coroner, but his beautifully judged portrayal of the mature, steadfast Hester Leggett creates one of the most moving moments in the show as Hester sings Dear Bill – a love letter to the imaginary airman. Friends who are army wives have praised (through sobs) how the gorgeous lyrics capture their turmoil of emotions perfectly and will absolutely break you. Their ensemble work is mind-blowingly intricate, and the energy blasting off the stage is incredible and truly uplifting.

SplitLip’s lyrics are fast and funny, cramming more laughs into one song than some productions manage in an entire show, and covering a wide range of musical styles, with Jenny Arnold’s inspired choreography adding to the hilarity – you’ve never seen Nazi’s move like this. Amongst the hilarity are poignant reminders of the seriousness and human cost of the mission – switching mid-song between debauched scenes in a London nightclub and the quiet tension of the submarine crew as explosions rock the vessel. The mission ends with a glitzy finale celebrating the key personnel of the mission – Monty’s entrance is worth the ticket price alone – before the cast lead a quiet but stirring tribute to the man who never was – Glyndwr Michael.

Like its inspiration, this musical straddles the line between genius and madness. When Charles has doubts about the plan, Monty advises him to grasp any small flashes of joy in this dark world – Operation Mincemeat is no small flash, it is a huge explosion of joy and wit illuminating the West End this year.

Buy. A. Ticket. You have your orders – now go!

Cambridge Arts Theatre, Cambridge – until Saturday 13th May 2023

Reviewed by Steph Lott

5*****

The enthusiastic reception from last night’s audience at Legally Blonde should tell you all you need to know if you’re thinking about coming to see Cambridge Operatic Society’s most recent production. There was plenty of admiration and laughter throughout the show.

Cambridge Operatic Society are a Cambridge based musical theatre company who perform an annual staged production under a professional director, often with a full orchestra, and have performed for many years at the Cambridge Arts Theatre.

Adapted from the iconic 2001 film starring Reese Witherspoon, Legally Blonde tells the story of Elle Woods, (played by Kaitlin Berridge) a sorority girl who enrols at Harvard Law School to win back her ex-boyfriend Warner (played by Hector Wheatley). Elle then discovers that there’s more to life than winning Warner back and that she can help others through her knowledge of the law. This surprises both Elle herself and those around her!

This is a fun and upbeat production. It’s undeniably odd at times – spoof Riverdance and a fake-Greek chorus dressed as cheerleaders! But all of this makes it ridiculous fun all the way through. It’s high energy from start to finish. The choreography is great and there are strong vocal performances from all.

There were lots of standout moments for me in this production. The duets between Warner and Elle “Serious”, and Elle and Emmett “Legally Blonde”, were really very well done. I thought Kaitlin Berridge’s depiction of Elle was absolutely spot on. She’s charming and annoying in equal measure and Kaitlin can really sing. This is also true of Amelia Bass who gave a fabulous solo performance as Paulette when she sang “Ireland.” A wonderful vocal performance.

Andrew Ruddick as Professor Callahan was the kind of villain an audience loves to hate. Smooth, oily, and ultimately sinister – and a great vocalist too.

And finally, I was in awe at the Whipped Into Shape routine – all that skipping, and Daisy Bates as Brooke Wyndham sang beautifully, and no-one seemed even out of breath!

There was a full house at this performance (I think) and so I hope that you can still get a ticket if you decide to go. The energetic cast give this their all with full sincerity and lots of skill. Definitely worth seeing.

Full cast announced for brand new musical Fury and
Elysium at The Other Palace Studio
Tuesday 6th – Sunday 18th June 2023
The Other Palace Studio, 12 Palace Street, London, SW1E 5BJ

Queer, revolutionary musical Fury and Elysium has announced the cast for its run at The Other Palace Studio this summer, immersing audiences in Weimar-era Berlin and the fight for artistic revolution against the backdrop of the rise of fascism.

Fury and Elysium will star Danielle Steers (The Cher Show, UK Tour; Six, West End), Iz Hesketh (Legally Blonde, Regent’s Park Open Air Theatre; Head over Heels, Manchester Hope Mill Theatre), Rosie Yadid (Bad Jews, Arts Theatre), Ashley Goh (The Phase, VAULT Festival; Red Riding Hood, Theatre Royal Stratford East), Maya Kristal Tenenbaum (The Band’s Visit, Donmar Warehouse) and Michal Horowicz (The Band’s Visit, Donmar Warehouse; Amsterdam, Orange Tree Theatre). Charlotte Clitherow (Zorro, Cadogan Hall) also joins the ensemble as swing/standby.

Directed by Rafaella Marcus (SAP, Soho Theatre & UK Tour; Emilia, Vaudeville Theatre) &
Karoline Gable (Oslo, National Theatre/West End), this epic new production explores queer culture and the fascinating lives of three very different Jewish women coming from the worlds of expressionist art, political agitation and the drag king scene. Fury and Elysium has a book by Stephanie Martin (Juniper and Jules, Soho Theatre; Passion Fruit, New Diorama Theatre) and music and lyrics by renowned singer-songwriter Calista Kazuko Georget.

Co-director Rafaella Marcus says, I’m thrilled to be working on this new musical about some of the extraordinary Jewish, queer and trans people who lived and made art in the darkest of times. I can’t wait to bring Stephanie and Calista’s bold, furious, playful work to audiences who in turn might be inspired to find resistance in art, together with my co-director Karoline and this fantastic cast of Jewish and queer artists.

Karoline Gable adds, It feels as important as ever to celebrate the many different forms resistance can take, and to investigate how fury, intersectional solidarity and artistic expression as a radical act can become a life line. I can’t wait to go on this journey together with Rafaella and this truly exciting cast of trailblazing artists.

Fury and Elysium is based on an original idea by Patrick Ehmcke-Kennedy and Stephanie Martin and is produced by Tanya Truman Productions.