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WILTSHIRE CREATIVE ANNOUNCES AUTUMN 2023 SEASON

Building on their output as a producing theatre with three in house productions Jeeves and Wooster: In Perfect Nonsense; The Girl on the Train and Dick Whittington

With The Tempestabout to open this year’s Salisbury International Arts Festival, Wiltshire Creative today announces full programming for their Autumn 2023 season.

This season sees the company increase its work as a producing theatre, with three in house productions on the Salisbury Playhouse Main Stage. Jeeves and Wooster in Perfect Nonsense, a co-production with Octagon Theatre Bolton, opens the autumn season on 1 September; with The Girl on the Train– the thriller based on the bestselling novel by Paula Hawkins and Dream Work’s film running from 19 October – 11 November. The season culminates with Dick Whittington, which runs from 25 November 2023 – 7 January 2024. Following the success of last year’s production of Cinderella, which included a UK Pantomime Award for Jasmine Triadi, writing trio Plested, Brown & Wilsher return with another pantomime for the festive season.

Other highlights of the season include:

• Original Theatre and Trafalgar Entertainment’s production of Torben Betts’ new thriller Murder in the Dark, directed by Phillip Franks and starring Tom Chambers tours to Salisbury Playhouse 2-8 October.
• Following his critically acclaimed Netflix special, Phil Wang returns to Salisbury Playhouse with Phil Wang: Wang in there, Baby on 29 September
• A full and varied season at Salisbury Arts Centre includes comedy with Fiona Allen: On the Run on 13 October and Chris McCausland on 19 and 20 October; music, including folk duo Sound of the Sirens on 7 Octoberand Laurence Knight: The Bowie Experience on 10 November and a new magic show directed by the late Paul Daniels, The Greatest Magician: An Evening of Wonders on 11 November.

Artistic Director of Wiltshire Creative, Gareth Machin said today, “We are delighted to be offering aur audiences in Salisbury three fantastic productions made in the city. We are proud of the reputation we have for the quality of our home-produced work and the brilliant team here at Wiltshire Creative, who make it all happen. This autumn our theatre will be full of suspense, laughter, and spectacle – come and enjoy!”

SALISBURY PLAYHOUSE:

A Wiltshire Creative and Octagon Theatre Bolton production
JEEVES AND WOOSTER IN PERFECT NONSENSE

A play from the works of P.G. Wodehouse

By Robert Goodale and David Goodale

1 – 23 September 2023

Director: Marieke Audsley; Designer; Olivia du Monceau; Lighting designer: Jane Lalljee;

Sound designer: Matt Eaton; Casting consultant: Liv Barr; Associate Producers: Amanda Bruce

P.G. Wodehouse’s iconic double act lands in Salisbury for a night of very silly nonsense!

Following a riotous weekend at country house, Totleigh Towers, Bertie Wooster has a tale to tell. Forced to play matchmaker between his newt-fancying acquaintance Gussie Fink-Nottle and the girl of his dreams, Madeline Bassett, Bertie must also secure an elusive silver cow-creamer for his formidable Aunt Dahlia. It’s a tall order, but fortunately he has the help of his loyal valet, the ever-reliable Jeeves, to navigate the many twists, turns and mishaps in this fast paced and dazzlingly inventive comedy.

Winner of the 2014 Olivier Award for Best New Comedy.

Robert Goodale’s writing credits include Jeeves and Wooster: In Perfect Nonsense(Duke of York’s Theatre). As an actor, his theatre credits include The Woman in Black (National tour and Washington DC), How to Act (National Theatre of Scotland), Julius Ceasar (Lepidus), Laburnum Grove (Finborough Theatre), The Lady from the Sea (The Rose Theatre), Dr Faustus (Shakespeare’s Globe), Vanya (The Gate), Ghost (Young Vic), Stoopud F**ken Animals (Taverse), Scenes from an Execution (hackney Empire), The Importance of Being Earnest and Arcadia (Bristol Old Vic), The Rivals, Comedy of Errors, Romeo and Juliet, School for Scandal and Cyrano de Bergerac (Royal Shakespeare Company), The Impresario from Smyrna and Mirandolina (Lyric Hammersmith).

David Goodale is a documentary film maker and playwright. As a writer, his credits include Jeeves and Wooster: In Perfect Nonsense (Duke of York’s Theatre)

Marieke Audsley directs Jeeves and Wooster: In Perfect Nonsense. Her theatre credits include Ladies Day (New Vic and Octagon Theatres), Jekyll and Hyde (Guildford Shakespeare Company), The Massive Tragedy of Madame Bovary! (Jermyn Street Theatre), Frost Hollow Hall and The Hound of Baskervilles (East Riding Theatre), Beryl (East Riding Theatre and Arcola Theatre), A Few Good Men (Sainsbury Theatre), Breathing Corpses (Platform Theatre), Julius Ceasar (Swan Theatre and UK tour), Richard III (Sainsbury Theatre), The Voice of the Turtle (House of St Barnabas), Sleight and Hand (Summerhall, Edinburgh), Civil Rogues (Pleasance Theatre), While the Sun Shines (Lion and Unicorn Theatre), The Rover (Drama Studio, Sheffield).

Olivia du Monceau designs Jeeves and Wooster: In Perfect Nonsense. Her theatre credits include Therese Raquin (Southwark Playhouse), Brutopia (Home MCR), Yellow Breck Road (Liverpool Royal Court), Lonesome West (Liverpool Royal Court) and Handbagged (New Vic Theatre).

A Wiltshire Creative production in the Main House
THE GIRL ON THE TRAIN 
Based on the bestselling novel by Paula Hawkins and DreamWorks film
Adapted by Rachel Wagstaff and Duncan Abel

19 October – 11 November

Director: Loveday Ingram

Designer: Adam Wiltshire

Every day on her way to work, Rachel watches a seemingly perfect couple from the train window, dreaming of her perfect love story. Suddenly she finds herself embroiled in a dark, twisted drama, when the woman she has been watching goes missing mysteriously.

Was Rachel responsible? Where did the blood come from? If only Rachel could remember the missing pieces in her memory, if only she hadn’t had too much to drink…

Based on the hit thriller novel by Paula Hawkins which sold over 20 million copies worldwide and the 2016 DreamWorks film, this gripping stage production will keep you guessing.

Rachel Wagstaff co-adapts The Girl on The Train. Her theatre credits include The Da Vinci Code (UK tour), The Girl on the Train (UK tour and Duke of York’s Theatre),  The Mirror Crack’d (UK tour), Flowers for Mrs Harris (Sheffield Theatre and Chichester Festival Theatre), Birdsong (Original Theatre Company and Comedy Theatre), Only the Brave (Wales Millenium Centre and George Square Theatre, Edinburgh), The Martyr (Soho Theatre), That Girl (Soho Theatre), Moonshadow (Princess Theatre, Melbourne), The Question (Sala Beckett Institute), The Apathists (Theatre 503), Night Sky (Old Vic)

Duncan Abel co-adapts The Girl on The Train. His theatre credits include The Da Vinci Code (UK tour), The Girl on the Train (UK tour and Duke of York’s Theatre), Isambard Kingdom Brunel (Sing London).

Loveday Ingram directs The Girl on The Train. Her theatre credits include Dinner with Groucho (Dublin Theatre Festiva, Belfast International Festival and Arcola Theatre), Fatal Attraction (UK tour), Henry V and Julius Ceasar (Storyhouse, Chester), Baskerville: A Sherlock Holmes Mystery (Liverpool Playhouse), Macbeth (Theatre Severn), The Rover (Swan Theatre), Richard III (Nottingham Playhouse and Theatre Royal York), These Shining Lives (Park Theatre), Outlying Islands and Lettice and Love (Theatre Royal Bath), Hysteria and Boston Marriage (B*Spoke Theatre Company), Rockaby (Gate Theatre, Dublin and Barbican), When Harry Met Sally and The Blue Room (Theatre Royal Haymarket), Dead Funny, Three Sisters, My One and Only, Hysteria, Pal Joey, The Blue Room, Insignificance (Chichester Festival Theatre), Bedroom Farce (Albery Theatre), My one and only (Piccadilly Theatre). Opera credits include Vanessa (Lyric Hammersmith).

Adam Wiltshire designs The Girl on The Train. His theatre credits include Antigone, Blue Stockings, Miss Julie and The Suicide (Storyhouse, Chester), Hansel and Gretel (Rose Theatre), Macbeth (Severn Walker Theatre), The Arrival (Tamasha and Circus Space), Our Father (Watford Palace Theatre), That Face (Tron Theatre), David Copperfield (Mercury Theatre), Red Fortress, Billy The Kid and Antartica (Unicorn Theatre), My Mother Said I Never Should (West Yorkshire Playhouse), The Visit (Oval Playhouse), Much Ado About Nothing (Salisbury Playhouse).

A Wiltshire Creative Production

DICK WHITTINGTON

by Plested, Brown & Wilsher

25 November 2023 – 7 January 2024 Daytime and Evening performances

Director: Gareth Manchin; Designer: Zoe Squire; Lighting designer: Nic Farman; Choreographer: Khiley Williams; Musical Supervisor: Josh Sood; Musical Director: Tim Jasper; Sound Designer: Michael Scott; Casting director: Natalie Gallacher CDG; Associate Casting Director: Richard Johnston

Writers Plested, Brown & Wilsher

Join Dick Whittington and his cool cat Cosmo, on the journey from Salisburyshire to London, in search of fame and fortune.

In the big city, disaster strikes, and the streets aren’t paved with gold but overrun with rodents. Can Dick defeat Evil King Rat and save the city of London? Join us this Christmas to find out! Expect exciting escapades, dazzling dances, and sparkling songs from our live band, which will have you singing and dancing all the way home.

2023 Pantomime Award Winner for Best Principal Lead in Cinderella at Salisbury Playhouse.

Clare Plested, Adam Brown and Amanda Wilsher are a comedy writing team with over 20 years’ experience writing, directing and performing comedy theatre.  Theatre credits include Cinderella (Salisbury Playhouse), Jack and the Beanstalk, Cinderella, Alladin and Sleeping Beauty (Corn Exchange Newbury). Supported by The Arts Council, the company had six acclaimed runs at the Edinburgh Festival, ten nationwide tours and toured internationally. Their unique brand of comedy gathered an enthusiastic fan base with broad appeal. Their musical, The Perfect Wife is currently in development with Debbie Isitt.  

Zoe Squire designs Dick Whittington. Zoe is the Artistic Director of Pins and Needles Productions. Her theatre credits include Scarlett Pimpernell (Theatre Royal Bath), Flies (Les Enfants Terribles and Pins and Needles), Glengarry Glen Ross (Ustinov Theatre), Little Mermaid (Theatre Royal Bath), Oz (Tobacco Factory Theatre), Mr Popper’s Penguins (Criterion Theatre and UK tour).

Gareth Machin is the Artistic Director of Wiltshire Creative. Previously, he was studio associate at the National Theatre, artistic director of Southwark Playhouse and associate director at Bristol Old Vic.

LISTINGS

WILTSHIRE CREATIVE

Box office: 01722 320 333 / [email protected]

SALISBURY INTERNATIONAL ARTS FESTIVAL:

THE TEMPEST

Churchill Gardens, Salisbury SP1 2HS

Wednesday 24 May – Sunday 4 June at various times

Tickets from £20

Please note, some locations will involve standing. Before booking please be confident that you can move with us during this performance.

SALISBURY PLAYHOUSE:

JEEVES AND WOOSTER

Salisbury Playhouse, Main house

Malthouse Lane, Salisbury SP2 7RA

Friday 1 – Saturday 23 September

Relaxed, BSL and Captioned Performance: 19 September at 7:30pm

Audio Described and Touch Tours: 21 September at 2:15pm and 7:30pm
Tickets from £13

THE GIRL ON THE TRAIN

Salisbury Playhouse, Main house

Malthouse Lane, Salisbury SP2 7RA

Thursday 19 October – Saturday 11 November
Backstage Tour: Saturday 28 October at 11am
Post-Show Q&A: Wednesday 1 November
BSL and Captioned Performance: Tuesday 7 November at 7.30pm
Audio Described and Touch Tours: Thursday 9 November at 2.15pm and 7.30pm
Tickets from £13

DICK WHITTINGTON

Salisbury Playhouse, Main House,

Malthouse Lane, Salisbury SP2 7RA

Saturday 25 November 2023 – Sunday 7 January 2024

Backstage Tour: Saturday 6 January 2024 at 11am

BSL and Captioned Performances: Wednesday 6 December 2023 at 7pm and Thursday 4 January 2024 at 2:15pm

Relaxed Performance: Saturday 6 January 2024 at 11am

Audio Described and Touch Tours: Thursday 14 December 2023 at 2:15pm and 7pm and Tuesday 19 December 2023 at 7pm

Tickets from £17

Orange Tree Theatre – until 17th June 2023

Reviewed by Ben Jolly

2**

Somerset Maugham’s ‘The Circle’ made its debut in 1921 at the Theatre Royal, Haymarket and one hundred years later the theatre was home to ‘Only Fools & Horses – The Musical’, quite the contrast indeed! This comedic play is set in a post WWI era at a country house in Dorset and deals with the trials and tribulations of relationships, sex, family and love in the upper class universe fresh in the aftermath of a world at war. As with most Maugham, this piece is light and frivolous on the surface but riddled with sub-text and forcing the audience to challenge their perceptions of society.

This production of The Circle started with high energy right from the get-go, however after the first scene it was clear that our cast had shot themselves in the foot as they had nothing to build on, and nowhere to go, unfortunately the rest of the play felt like it was flatlining.

Jane Asher as Lady Catherine-Champion-Cheney gives a strong, fierce performance but we needed more dynamics, more theatricality, (basically, I’m saying she needed to be camp as hell) – especially in Act 1, this would have made the more vulnerable and softer side shown to us later in the play all the more engaging.

While strategically designed by Louie Whitemore, I don’t feel that this play is the perfect fit for the lovely in-the-round space at the Orange Tree Theatre. A lot of block staging and speeches delivered in stagnant poise prevent the piece from moving swiftly and instead felt like treading through mud. Director Tom Littler has made good attempts with the struggles that an in-the-round space can present with a play like this, but I still don’t think it works for this style of play.

There are some lovely performances from the rest of the cast, each bringing something unique and honest to the performance. Clive Francis as the mischievous Clive Champion-Cheney commands the stage with ease and charm.

Quite the controversial show when it debuted to audiences in shock and boo-ing over its then controversial ending, I can’t help but think that this play hasn’t aged quite as well as the creative team might have hoped. I am however, excited to see what Littler has next up his sleeve for his tenure at the Orange Tree!

The Mix, Theatr Clwyd, Yr Wyddgrug – until May 13th 2023

Reviewed by Julie Noller

5*****

Did you play Truth or Dare when growing up? What if you were to take the concept and twist it, take a group of talented writers throw in a fantastic group of actors, mix it up with a few wacky ideas and you have the recipe for a successful play.

When I say play it’s rather like a market for plays, lot’s of stalls each offering different goodies. It’s a great concept Truth or Dare is actually 2 separate plays; you could choose to watch just 1 or both. Let me explain the basics Truth or Dare can be broken down into 5 mini plays each, both had its own cast of 10 very talented actors all bi-lingual (Welsh/English) . Each play has been writen by a separate writer giving every one a very individual feeling. The writing is topical and extremely well thought out (as well as well writen of course) The scenarios are well practiced, when I say scenarios…. I’m still smiling and chuckling about those still. You are asked to perhaps bring along a random item to each show. These props are chosen before each performance carefully selected for maximum effect by the backstage team. I wasn’t sure just how these props were going to be inserted into a play that has already been written and rehearsed but by golly they add to the show and belly laughs. I expected improv humour but I got these and so much more.

Not wanting to ruin anyone’s enjoyment by spilling each story, I’m going to tell you how just 1 play affected me. Barbie Butt written by Greg Glover is fantastically topical, in its own way highlighting escapism in a world of pain management, mental health. ( I have a friend who went through organ transplant so Barbie Butts inner message hit home) Mental health is a very serious issue affecting many people silently what Barbie Butt did was so very typically British lets tackle it but add humour, have you ever seen health issues fought off with a tin of beans? I have now!!!! Leilah Hughes was full of humour and emotion all in pink as a Barbie Girl not quite in a Barbie World. Seeing the cast of each play be surprised by their own prop, having to incorperate them as if a squeegee, fake plastic poo, toilet roll or a marble rhino is perfectly normal. What also makes Truth or Dare stand out is the fact it’s bi-lingual as someone who has an extremely limited understanding of Welsh it wasn’t a problem, there are subtitles on a screen throughout not only to aid the hearing impaired but also the language impaired. I could follow the acting, pick out certain words, so for those studying the Welsh language these short plays are perfect. It’s equally amazing just how many issues you can pack in to these short plays, squabbling siblings, grief, loss, financial worries of a salesman, feminism, motherhood, history.

There is a longer than average break between the end of Dare and the beginning of Truth of an hour. Giving everyone the chance to enjoy a drink, discuss with the actors what we had watched. Perhaps spin the wheel would you take on a Dare? ‘Tell a stranger a joke’ or answer a Truth about yourself?

Dare gave us all that Warm fuzzy feeling you get from belly laughs, Truth we were fully warmed up and waiting for even more laughs, we got those a plenty, I literally howled and enjoyed every moment letting the apprehensions that have built over the dreaded covid lockdowns float away as I chatted to strangers sat around me and we nodded our approval to each other. If you are going and thinking of taking a prop my tip is to go large – the motorbike helmet was perfect, totally random but large enough to be seen by all and avoided the ‘what is it?’ conversations.

A huge well done to the whole team led by Director Francesca Goodridge and I’m sorry for not mentioning each individually but here’s hoping for another helping of Truth or Dare for a fun laughter packed great night of entertainment.

Union Theatre – until 20 May 2023

Reviewed by Claire Roderick

3***

Ahhh, the cheesy costumes, ridiculous choreography, overblown staging, intense instrumental breaks – Eurovision brings it all – as well as a lengthy list of absolute bangers. Love it or hate it, Eurovision season is inescapable and means so much to many people.

Josh (Kane Verrall) is obsessed with Eurovision – it is his happy place, a joy shared with his mother, Gina (Adele Anderson) as they litter conversations with song titles and bat trivia back and forth. Josh hosts a Eurovision party in his flat every year for his drama school friends Kat (Charlotte East) and Daz (Marcus J Foreman) and dancer/stripper/rent boy/porn star Andy (also known as Ryder) (Sean Huddlestan). Have you spotted the name connections yet? Martin Blackburn’s play takes place on Eurovision nights at Josh’s flat from 2012 to 2022, portraying the changes in dynamics of the group’s friendships over the years. In truth, Eurovision only looms large in Josh’s life, with the show playing quietly in the background as the others chat – SACRILEGE!

As Josh’s career goes nowhere (a corpse in Holby City is the highlight), Kat’s writing and performing of her monologue leads to a TV show, where she casts Daz instead of Josh as a character based on Josh himself. Kat’s use of Josh’s ideas, life and energy in her writing without acknowledging him really hurts, and continued rejections in the UK and LA, as well as cruel comments from his friends take their toll. The audience soon realises that Eurovision is the only happy thing that Josh and his mother share, and amongst all the high camp comedy expertly performed by the wonderful Verrall, the emptiness and sadness behind Josh’s use of Eurovision as a personality trait seeps through. The Eurovision and theatrical jibes are hilarious, and expertly delivered by the cast. Huddlestan and Foreman are a hoot as the, eventually, married couple that can never quite understand Josh’s obsession with Eurovision – “too gay for me!”. East has the toughest job with Kat – managing to make a character who seems to just be a conduit to introduce issues like #MeToo, intellectual property and surrogacy sympathetic and layered. Adele Anderson has a meaty role as Josh’s mother, with some fantastically written lines, that I am sure she will settle into as the run progresses – the scenes she nailed were wonderful, showing her great acting chops.

The initial frenetic sitcom atmosphere gradually darkens throughout the first act, with the second act full of confrontations and soul searching, and the energy and pace is as uneven as Eurovision itself. Perhaps a little editing down to a one act 90 minutes could create a crisper, more coherent production. As it is, Nul Points! is an enjoyable production with an excellent cast, tons of laugh out loud moments, and a laudable, deeper message about relationships and being true to yourself. Not quite top of the leader board, but a show with lots of promise.

Jack Studio Theatre – until 13 May 2023

Reviewed by Claire Roderick

4****

Áine Ryan’s haunting and gripping monologue is unmissable. Alone in the kitchen of the home she shares with her dying father, Kitty slowly reveals details of her life leading up to this night as she waits for her boyfriend to pick her up to take her to the pageant. Kitty’s opportunistic friend Salisha – the only other girl in her class – is the polar opposite of Kitty and is competing in the pageant. An eye catching large box containing a present Kitty wants to give to Salisha at the crowning ceremony.

The lane of the title is the two-mile lane that leads from the house to the nearest road. Mocked and sometimes abused by the locals, Kitty is isolated geographically and emotionally, mourning the death of her beloved brother with little solace from those few people she sees. Ryan skilfully builds a picture of an isolated woman, sharing a bed with her brother into adulthood and living a monotonous, life working on the farm under the control of an unloving and domineering father, who had cameras installed around the farm and house to maintain his power when he became bedridden.

Florence Hand’s sound direction is exquisite – strains of violin music continuously tormenting/reminding Kitty of the violin she played before her father’s unthinking cruelty stopped her. Constance Comparot’s set and Alex Forey’s lighting change the atmosphere from stark to mystical and dreamlike effortlessly with Jack Reardon’s assured direction.

Ryan’s playfulness with structure and language enhances the sense of isolation and otherworldliness of Kitty, with some beautiful phrases and wonderful Irish vernacular. Ryan inhabits the character brilliantly in her delivery and the physicality of her performance – convincingly innocent, reckless, devious, traumatised and full of animalistic anger throughout the play. The anecdotes of abuse and unfairness in Kitty’s life scattered throughout the monologue are told with fury, followed by moments of silence that are far more affecting than any words of explanation. Moments of brutality and shocking loss build into a satisfyingly frenzied finale that is horrifying and heart breaking – simply stunning.

Hull City Hall – 4th May 2023

Reviewed by Dawn Bennett

5*****

As part of the Hull City Hall Classics 2022/2023 (in partnership with the Royal Philharmonic Orchestra and the Hull Philharmonic Orchestra) last night we were treated to a masterclass in how to produce an orchestral concert. I have seen the Royal Philharmonic on a number of occasions and they seem to get better every time I see them. Their conductor was Antony Hermus (Chief Conductor Designate of the Belgian National Orchestra and Principal Guest Conductor of the North Netherlands Orchestra and Opera North) and his enthusiasm and skill was evident from the moment he set foot on the City Hall stage. He kept the audience in the palm of his hand and his explanation of the pieces was very well received.

The first piece was by Zoltan Kodaly (1882-1967) Dance of Galanta. From the Hungarian melodies to the soaring string section (led by First Violinist Magnus Johnston) and the light and shade of the woodwind and percussion section this piece held the rapt attention of the audience. Zolan Kodaly started off as a romantic composer in the mainstream 19th Century tradition before he began absorbing the folk music of Hungary.

The next piece was Franz Liszt (1811-1886) Piano Concerto No.1 in E-flat major, S124. Fransz List took over 26 years to write this concerto performing it himself the first time. The piano was played by Shunta Morimoto, he was born in Kyoto, Japan, in December 2004 and this very talented pianist was awarded the Fukuda Scholarship Award at the age of twelve. He is currently studying at the International Piano Academy Lake Como (with Maestro William Grant Nabore). His piano playing was sublime and he was a joy to watch and listen to. From dark and brooding to light and melodic he played with such feeling and very much deserved the standing ovation he got after which he played a fabulous solo piece.

The final piece was Ludwig van Beethoven (1770-1827) Symphony No.5 in C minor Op.67. Beethoven started to write this symphony in 1804 and he knew he was going deaf at this point; he wrote it over 4 years along with a number of other pieces. To hear an orchestra of this calibre playing the opening bars of this very recognisable piece of music in the magnificence of the Hull City Hall was fabulous. As the conductor explained that this piece of music was his first introduction to classical music and I think that this would be the same for a lot of other people, myself included.

The Royal Philharmonic Orchestra always produce brilliant concerts and I would urge anyone to go and see them, you won’t be disappointed.

HOME THEATRE, MANCHESTER – UNTIL 13TH MAY 2023

REVIEWED BY ZOE BROWN

5*****

If You Fall – An exploration of how we care for people at the end of their lives. Told through the lens of those who are nearing the end themselves, their loved ones who are also suffering and those upon which the heavy burden of daily care often falls, the over-worked, under-staffed men and women of the care system.

Originally conceived by Nir Paldi , researched and developed using testimony from a number of contributors such as Bristol Older Peoples Forum as well as the lived experiences of the cast and company, Ad Infinitum have woven together a series of stories about those coming to the end of life and placed them all within one care home to allow seamless transition between them.

The cast are all superb, the timing and flow between characters is perfectly executed allowing us to meet a plethora of people; from the elderly who have fallen at home, those men and women facing dementia, lonely widows, desperate family members, and those who have come to this country to work whilst their own families are thousands of miles away needing support themselves.

The production includes horror and humanity, pain and love, despair and relief. They even manage to find humour in moments of grief. These themes are emotive, topical and in dire need of attention. If there were ever a call to action, this is it. This is what theatre is for, to move you, to make you question ‘how can we make the system in our country better?’

There were people in the audience visibly shaken and crying, perhaps reminded of a loved one, or a deeply uncomfortable experience, or simply moved by the care and attention this fine ensemble and collective company brought to the piece.

This show is flawless from the beautiful chorography steered by movement director, Deb Pugh, the haunting rhythmic harmonies composed Jack Drewry, to the exquisite performances of the ensemble cast, Clive Duncan, Elisabeth Gunawan, Jabari Ngozi, Kirris Riviere, Heather Williams, Robin Paley Yorke.

Helena Middleton, who directs this production and Ad Infinitum should be proud of what they have achieved.

PRIORITY ON SALE AND GENERAL ON SALE

DATES ANNOUNCED

FOR

THE OLIVIER AWARD NOMINATED

SMASH HIT PRODUCTION OF

AT THE DOMINION THEATRE

STARRING

BEVERLEY KNIGHT AND ALEXANDRA BURKE

AS DELORIS VAN CARTIER

PRIORITY ON SALE FROM WEDNESDAY 10 MAY AT 10.00AM,

WHEN YOU SIGN UP ONLINE AT WWW.SISTERACTTHEMUSICAL.CO.UK/LONDON

GENERAL ON SALE FROM MONDAY 15 MAY AT 10.00AM

On sale dates have been announced for the West End return of the Olivier Award nominated production of SISTER ACT at the Dominion Theatre from Friday 15 March to Saturday 31 August 2024.

Sign up at www.sisteractthemusical.co.uk/london for priority access from Wednesday 10 May at 10.00am. General on sale will be from Monday 15 May at 10.00am.

The role of Deloris Van Cartier will be played by the multi-award-winning music star and Olivier Award winning performer Beverley Knight, reprising her performance following sensational acclaim during the show’s run in London during the summer of 2022, from 15 March to 8 June 2024, and by Number One best-selling artist and musical theatre star Alexandra Burke, who returns to the role having previously played Deloris in the 2016 tour, from 10 June to 31 August 2024.

Beverley Knight MBE was most recently seen on stage in her Olivier Award winning performance as ‘Emmeline Pankhurst’ in “Sylvia” at The Old Vic, and in 2022 received an Olivier nomination for her starring role as ‘Faye Treadwell’ in “The Drifter’s Girl” at The Garrick Theatre. Beverley can also be seen as a judge on ITV’s highly successful entertainment show “Starstruck” now in its second series. She is a three-time MOBO Award winner and Mercury Music Prize nominee who has sold over a million albums in the UK, including the platinum selling “Voice: The Best of Beverley Knight”. Her other West End credits include Olivier Award nominated performance as ‘Felicia Farrell’ in “Memphis The Musical”, ‘Rachel Marron’ in “The Bodyguard” and ‘Grizabella’ in “Cats” at The London Palladium. In 2021 she was also seen in Amazon’s live action movie “Cinderella” and in the Channel 4 pilot “Big Age”.

Alexandra Burke was most recently seen on stage as ‘The Narrator’ in “Joseph and The Amazing Technicolor Dreamcoat” at the London Palladium. Other theatre credits include ‘Rachel Marron’ in the hit musical “The Bodyguard” in both the West End and subsequent sell-out 2015/2016 tours. Her #1 debut single “Hallelujah” sold over one million copies in the UK in 2008, a first for a British female soloist, while her #1 and million-selling debut album “Overcome” earned three BRIT Award nominations. Her smash-hit singles over the last decade include #1 “Bad Boys”, #4 “All Night Long”, #1 “Start Without You”, #3 “Elephant” and #8 “Broken Heels”.  A firm favourite across both stage and screen, she reached the final of “Strictly Come Dancing” in 2017.  She was crowned ‘Star Baker’ on “The Great Celebrity Bake Off” and won “SAS: Who Dares Wins”. Her movie debut in the BFI/BBC film “Pretty Red Dress”, playing the role of Candice May, will be released in June following critical acclaim at London Film Festival. Further theatre credits include Svetlana in “Chess” at the London Coliseum and Roxie in “Chicago” at the West End’s Phoenix Theatre.

Based on the iconic movie, this sparkling tribute to the universal power of friendship, sisterhood and music tells the hilarious story of the disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a convent! Disguised as a nun and under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own. 

SISTER ACT has direction by Bill Buckhurst, choreography by Alistair David, Set and Costume Design by Morgan Large, Musical Direction by Neil MacDonald, Lighting Design by Tim Mitchell, Sound Design by Tom Marshall and Musical Supervision by Stephen Brooker. Casting is by Stuart Burt. 

SISTER ACT features original music by Tony® and 8-time Oscar® winner Alan Menken(Disney’s Aladdin, Enchanted), lyrics by Glenn Slater, book by Bill and Cheri Steinkellner with additional book material by Douglas Carter Beane. SISTER ACT is produced by Jamie Wilson, Gavin Kalin, Kevin McCollum and Curve.

TAMSIN GREIG in

THE DEEP BLUE SEA

by Terence Rattigan
Directed by Lindsay Posner

 Ustinov Studio, Theatre Royal Bath
Thursday 25 April – Saturday 25 May 2024 

Olivier Award winner Tamsin Greig will star in The Deep Blue Sea, Terence Rattigan’s 1950’s study of obsession and the destructive power of love, which will play the Ustinov Studio, Theatre Royal Bath next Spring, from Thursday 25 April – Saturday 25 May 2024

When you’re stuck between the devil and the deep blue sea, the deep blue sea can sometimes look very inviting. In this powerful drama of passion versus loyalty, Hester Coller, the diaughter of a clergyman and wife of a judge is floundering in the closing stages of a hopeless affair. Freddie Page, her lover, a handsome but shallow ex-Battle of Britain pilot, is out of his depth in their relationship, overwhelmed by the strength of an emotion he is incapable of reciprocating… 

Tamsin Greig has been one of the country’s best-loved stage and screen actresses in a career spanning four decades. She won the Olivier for Best Actress in 2007 for Much Ado About Nothing, and has been nominated for The Little Dog Laughed and Women on the Verge of a Breakdown. 

Her screen credits have included some of the most successful British comedies, amongst them Green Wing, Black Books, Episodes, Love Soup and Friday Night Dinner.Tamsin has also starred on Radio 4’s The Archers, and film roles have included Tamara Drewe and Shaun of the Dead.  

Director Lindsay Posner returns to the Ustinov Studio fresh from his widely acclaimed production of Who’s Afraid of Virginia Woolf? One of the UK’s most accomplished directors, his recent productions in Bath and for the West End include Noises Off, God of Carnage, Stone in his Pockets, She Stoops To Conquer and Hay Fever.  

Further cast and further creative team will be announced in due course.

The Birmingham Rep – Wednesday 4th May 2023

Reviewed by Amarjeet Singh

5*****

Ballet Black’s vibrant diversity has been breathing beauty into ballet since 2001. Performed in two acts, Ballet Black: Pioneers comprises of Will Tucketts, Then or Now, a majestic merging of dance, poetry and music, and Mthuthuzeli November’s By Whatever Means, a heartfelt homage to Nina Simone. This performance blew me away. Its powerful, raw and emotive. The movement, music and message leave every sinew tingling, surprising the senses with its celebration of self, of women, and of worth.

Simple sets, 9 dancers, Taraja Hudson, Mthuthuzeli November, Rosanna Lindsey, Ebony Thomas, Isabela Corancy, José Alves, Sayaka Ichikawa, Alaxander Fadayiro and Helga Paris-Morales, traversed the stage to create a night of absolute magic. Breaking down barriers and conveying meta messages of belonging and home.

In act one, we have the poetry of Adrienne Rich, poet, feminist and activist against the oppression of women. Thought-provoking blends of history and crucial themes of black lives today are engagingly echoed through words and choreography. Raw and honest, weaving wonder into Rich’s verse, the dancing is sophisticated and sublime. Subtle movements, urgent and passionate solos, duets, and group ballets, this act closed to rapturous applause and a desire for more.

Act two takes us into poignant moments in the musician, singer and human rights activist Nina Simone’s life. This builds in momentum, from a slow start as a child, into fame, onto a tumultuous relationship, facing and defying racism, fighting for black rights and all this done with the backdrop of the rapturous music of Simone and her spoken voice. Moving and dynamic, it stirs a multitude of emotions, joy, anger, sadness and culminated in a blazing and frenzied finale which resulted in the whole theatre giving a richly deserved standing ovation. I will never be able to hear the amazing “Sinnerman”, again without recalling the struggles felt by this wonderous woman and the incredible performance given by this talented company .