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Festival Theatre, Malvern – 7th May 2023

Reviewed by Courie Amado Juneau

5*****

Ellen Kent Productions again regales us with another astonishing performance of a classic opera; Puccini’s La Boheme. First performed in 1896 but set in the bohemian quarter of 1830’s Paris, it’s the story of four struggling artists (bohemians) sharing a flat when, one Christmas eve, their neighbour Mimi, a penniless seamstress, comes around to ask for a match as her candle has gone out. Rodolfo (and Mimi) instantly fall in love and sing their first gorgeous duet “Oh Lovely Girl“. Unfortunately, Mimi is desperately ill… well, it is Italian Opera after all.

Mimi (played by the exceptional Korean Soprano Elena Dee) was ethereal, sublime and impressively powerful in a natural, understated, way. Her voice is pure joy and her acting genuinely affecting. A glorious characterisation! Her leading man, Sorin Lupu, was a forceful presence whose singing and acting was equally thrilling, giving us a most enjoyable Rodolfo. Together they made an extremely likeable (and believable) couple. Their first meeting also gives us (arguably) one of the Operas highlights, the duet ‘O Lovely Maid In The Moonlight’ where both weaved the aria’s melodies together to romantically charming effect.

Musetta (the magnificent Olga Perrier) was flirty and commanding, giving us the full range of her characters quirky nature. “Musetta’s Waltz“ (“When I go along“) sung to make Marcello (her ex-lover) jealous was wonderful but for me her highlight was her performance during the final act, when she sings of her friend Mimi dying. Indeed, that final act, is the emotional high point of the piece and each singer shone. Touching, from all concerned, especially Colline (Valeriu Cojocaru) saying goodbye to his coat (in an obvious metaphor).

A desperately sad opera, tragic doesn’t begin to cover it! Poor Mimi – I mean, who would leave a person who they purported to love when that person was desperately ill? But, that’s drama for you (rather than real life). But it is also full of warmth, humour (the Bohemian friends dance routines for instance) and love; the lasting kind that remains in the heart after the world has gotten in the way and hindsight later helps us recognise our soul mate. Although in the end, Mimi is rather fortunate as there is kindness as she passes away, dying in the arms of the man she loves, surrounded by friends, after receiving a touching present. Who amongst us could hope for more?

The Ukrainian Opera and Ballet Theatre orchestra played beautifully, conveying all the power and emotion of the tale. So perfectly balanced were they that I had to remind myself they were there – and I genuinely mention that as a compliment as they were perfection. An exceptional production, fantastically paced, a faithful reading of an exciting score full of exquisite music – a triumph from tonight’s conductor Nicolae Dohotaru. As in recent visits to Malvern Theatres, we all gave an emotional standing ovation at the end for the Ukrainian national anthem. How sad that war is still raging!

I cannot wait for their next visit and I urge you all to see them too, at your earliest (and every possible) opportunity. Bravissimo!

Nottingham Theatre Royal – until Saturday 13 May 2023

Reviewed by Louise Ford

3***

It’s fun to be a nun!

Loud, proud and brash Sister Act hits the Nottingham stage as part of its UK tour. Set firmly in colourful 1970s Philadelphia, Sister Act builds on the successful 1992 film of the same name, which was a hit for Whoopie Goldberg. This  current production has Sandra Marvin as Deloris Van Cartier, the wannabe star with a powerful pair of lungs and some interesting footwear, on the run from her murderous gangster boyfriend Curtis Jackson (Mark Goldthorp).

The set and costume design are by Morgan Large. The set is a masterpiece the dark and decaying Gothic convent and cathedral bearing down on the stage and the cast . This is in contrast to the costumes which get jazzier as the story unfolds to a climactic finale worthy of any pantomime!

The clash of cultures and personalities between the Mother Superior (Lesley Joseph) and Delores are nicely played out, with Mother Superior reaching for her hip flask when the power of prayer fails to deliver.

There is some interesting casting, as detailed in the substantial program, with a conscious decision to represent the greater theatre community in the leading roles. This really works and enhances the story and the production.

The stand out performance for me was Clive Rowe as Eddie Souther the cop with a soft centre and some surprising quick changes!

There is also a great camped up performance from Monsignor O’Hare (Graham MacDuff) as he gets in the groove with the fund raising to repair the “church roof”. There is also a guest appearance for the finale from an unexpected quarter.

At heart the musical is good humoured but the songs seem a little overlong and aren’t particularly memorable, which is a real shame. Having said that the audience were clearly delighted by the whole show and were on their feet for the final number. So get up and join the crowd on the floor.

Cast announced for the return of the award winning musical
‘Grindr: The Opera’

James Aymon, Grant Jackson, James Lowrie, Christian Lunn, Billy J Vale, Dereck Walker, Santino Zapico

James Aymon, Grant Jackson, James Lowrie, Christian Lunn, Billy J Vale, Dereck Walker and Santino Zapico are today announced as the cast for the new production of ‘Grindr: The Opera’ (Winner! Best New Musical, Off West End Awards 2019), which puts the most notorious gay hook-up app into the exaggerated world of opera.

With musical styles ranging from baroque to contemporary pop, ‘Grindr: The Opera’, Book, Music & Lyrics by Erik Ransom, directed by William Spencer, is a daring, humorous look at the changing landscape of gay relationships, and the greatest catalyst for the shift: Grindr.

GRINDR, a mythical siren from remote antiquity, has been awoken from its millennial slumber by technology. Its power, which is derived from human lust, is exhibited as it manipulates its gay devotees in a soaring soprano…Union Theatre Arch 22 & 23 Old Union Yard  Arches 229 Union Street London SE1 0LR
25 May  – 8 July  2023

James Aymon recently played Buttons in ‘Once upon a Panto’ (UK tour) as well as a singer, dancer and vocal captain for Celebrity Cruise Lines.

Grant Jackson’s recent roles include Referee Angel in ‘Kinky Boots’, Bella Du Ball in ‘Queenz’ (UK tour), ‘Top Hat’ (Upstairs at the Gatehouse) and ‘We Will Rock You’.

James Lowrie has just finished an international tour and West End run as Denym in ‘Bat Out of Hell’. He was also Lumiukko in ‘Frostbite – Who Pinched My Muff?’ (Garden Theatre).

Christian Lunn played Riff Raff in the European Tour of ‘The Rocky Horror Show’. He was in the original award-winning cast of ‘Grindr the Opera’ in 2018 and played ‘Little John’ in Lionel Bart’s ‘Twang!! The  Musical’ at the Union Theatre.

Billy J Vale is a recent graduate of Arts Ed. Earlier this month he was in ‘Dr Zhivago in Concert’ (London Palladium).

Dereck Walker returns to the role of Don from the original award-winning cast of ‘Grindr The Opera!’. Recent theatre credits include Grandma in ‘George’s Marvellous Medicine’ (Birmingham Stage) and Tin Man in “The Wonderful Wizard of Oz” ( PMA Productions).

Santino Zapico is a recent graduate of Trinity Laban Conservatoire of Music and Dance making his professional debut.

Creative team:
Director and Choreographer William Spencer
Assistant Director Amy Kinnear
Musical Director Aaron Clingham
Designer David Shields
Design Assistant Ryan Webster
Lighting Designer  Jonathan Chan
Sound Designer Joshua Robins  
Production Manager – Alistair Lindsay
Producer Peter Bull

Composer Erik Ransom said: “Class and crass were the elements I sought to blend in the creation of this show. It is right in the title: ‘GRINDR: The Opera’.

“Opera brings to mind tuxedos, elegant gowns and pearl necklaces. GRINDR brings to mind bare torsos, leather harnesses and, well… pearl necklaces.

“This may not be opera in the traditional sense, but I would argue it fulfils the necessary prerequisites to be defined as such and, like all opera, it lives in a heightened world. I was interested in exploring and exaggerating themes that have become commonplace across the spectrum of queer culture in the Information Age, while paying occasional homage to iconic musical greats like Verdi, Wagner and, of course, The Village People.

“I hope you’ll lose yourself in this eclectic musical world, which is frequently as frivolous as ‘Figaro’ and at times as tragic as ‘Tosca’. I hope you’ll take differing sides in the disputes between the characters, because in my view there are no heroes or villains in this story.

“GRINDR is neither good nor bad. It is, like its trademarked sigil, a mask. A guise to be donned by myriad men for a plethora of purposes. However you receive GRINDR: The Opera, may you find it at least as enjoyable as your most recent hook up!”

Erik Ransom – Book, Music & Lyrics

Erik Ransom is an award-winning, internationally produced playwright, lyricist, composer and performer based out of New York. Erik’s magnum opus, GRINDR The Opera, won London’s 2019 Off West End Award for Best New Musical, and has been produced across the US.  Erik originated the role of Rodney in the long-running Off-Broadway hit ‘My Big Gay Italian Wedding’ and plays the recurring role of François in ‘PopStar! TV’s Tainted Dreams’. He wrote lyrics for the Off-Broadway sci-fi musical, ‘The Anthem’ and for ‘Shooting Star’, which  ran at Hudson Theatres in Los Angeles. Other works include: ‘Coming: A Rock Musical of Biblical Proportions’ and ‘More Than All the World’, a musical retelling of Marlowe’s ‘Edward II’. Additionally, Erik starred in and wrote songs for the film, ‘Happy Yummy Chicken’ featuring Taryn Manning, and served as lead comedy writer for The Celebrity Roast of Michael Musto, presented by Rosie O’Donnell and hosted by Bruce Vilanch. In January of 2017, Erik founded The Dead Playwrights’ Society, a group that gathers monthly to read and discuss classic and contempo rary plays. ‘The Tragedie of King John Falstaff’ was first read as part of the newly-minted Future Dead Playwrights chapter of the Society.

William Spencer – Director /Choreographer

William trained at Bird College and as an intern/student ambassador to the McOnie Company. Alongside this, he has had the pleasure of working with West End and internationally renowned creatives such as Carole Todd, Nick Winston, Steven Dexter and Bronagh Lagan. Recently, he was twice Offie nominated for Best Choreographer for ‘[Title of Show]’ and ‘Boy Toy’. His two all-male narrative ballets, ‘Coppelia’ and ‘The Supermarket Suite’ received seven 5 star reviews along with an Offie Commendation Award. Other choreographic and directorial credits include: ‘Nul Points!’, ‘A-Typical Rainbow’, ‘LOL Surprise’, ‘Next Thing You Know’, ‘Frostbite’, Gradfest’s Showcase, ‘Black Magic Woman’, ‘Queereteria TV’, ‘Diary of a W*nky Actor’ and the cabaret show ‘Cut Before Curtain Up’. Assistant choreographer/director credits include the following Offie nominated productions: ‘Pippin’, ‘Romance Romance’, ‘Musical of Musicals (The Musical!)’, ‘Mother Goose’ and ‘Cynthia’s Girls’.

Peter Bull – Producer

Peter founded Above The Stag Theatre where he was artistic director for 11 years until 2019. He famously created the legendary Above The Stag adult pantos. He has produced over 100 Off West End plays, musicals and pantomimes as well as cabaret and stand up performances. His outdoor production of ‘Fanny & Stella’ was the first musical to open in the U.K. after the first Covid 19 lockdown. Highlights of his career include the 25th anniversary production of Jonathan Harvey’s ‘Beautiful Thing’, Pet Shop Boys’ musical ‘Closer to Heaven’ and the award winning ‘Grindr The Opera’. In addition he has directed in London, New York, Milwaukee and Chicago.

Peter Bull presentsGrindr: The Opera

An unauthorised parody

Book, music & lyrics by Erik Ransom

Director William Spencer

UNION  THEATRE
Arch 22 & 23 Old Union Yard  Arches
229 Union Street
London
SE1 0LR

25 May  – 8 July  2023

Tuesday – Saturday 7.30pm

Sunday 2.00pm

Tickets :

25th & 26th May  £20

27th & 28th May £25

from 30th May £35

Bookings : uniontheatre.biz

Original cast recording available on iTunes, A
mazon music, Apple Music

Sample tracks on
https://grindrtheopera.hearnow.com

FULL CAST ANNOUNCED FOR WORLD PREMIERE OF untitled f*ck m*ss s**gon play.

Today the full cast for Kimber Lee’s untitled f*ck m*ss s**gon play directed by Royal Exchange Joint Artistic Director Roy Alexander Weise has been announced by Royal Exchange Theatre, Factory International on behalf of Manchester International Festival, Young Vic Theatre and Headlong.

Winner of the inaugural Bruntwood Prize for Playwriting 2019, International Award, this powerful production will receive its world premiere at the Royal Exchange Theatre as part of MIF23 (24 June – 22 July 2023), before transferring to the Young Vic Theatre in London (18 September – 4 November 2023). Tickets are on sale now.

Olivier Award nominee Mei Mac (My Neighbour Totoro) leads an ensemble cast as Kim, with Lourdes Faberes (Boiling Point)as Rosie / Cio-Cio, Jennifer Kirby (Call the Midwife)as Evelyn / Richards, Tom Weston-Jones (Sanditon)as Clark, Rochelle Rose (Rockets and Blue Lights)as the Narrator / Brenda and Jeff D’Sangalang (The Ocean At The End Of The Lane)as Afi/Goro.

‘Very well. I will do what I must do, Mother.’

Kim (Mei Mac) is having one of those days. A terrible, very bad, no-good kind of day, and the worst part is…it all feels so familiar. Caught up in a never-ending cycle of events, she looks for the exit but the harder she tries, the worse it gets and she begins to wonder: who’s writing this story? She makes a break for it, smashing through a hundred years of bloody narratives that all end the same way. Can she find a way out before it’s too late? 

With breathless hilarity untitled f*ck m*ss s**gon play jumps through time – wriggling inside of and then exploding lifetimes of repeating Asian stereotypes, wrestling history for the right to control your own narrative in a world that thinks it can tell you who you are. 

untitled f*ck m*ss s**gon play is designed by Khadija Raza with costume design by Loren Elstein, lighting design by Josh Pharo, composition by Ruth Chan, sound design by Giles Thomas, movement by Shelley Maxwell, fight and intimacy direction by Haruka Kuroda, Jerwood Assistant Director is Caroline Yu and casting by Helena Palmer CDG. 

Mei Mac says: “I’m thrilled to be bringing Kimber Lee’s play to life. It’s a bold and delicious opportunity to reclaim the narrative of East and South East Asian women in the diaspora, from years of dehumanisation and denied agency. It’s empowering to explore the conversations I’ve had with my sisters and in my communities with a wider audience in such a fun, spicy, theatrical way. A genre, timeline defying way. Because that’s what’s so exciting about this play; its refusal to be reduced by the patriarchy and its determination to take full autonomy.”

Kimber Lee says: “I cannot wait to get in the rehearsal room with this wonderful cast!  A play craves embodiment, and I’m looking forward to getting to know these incredibly gifted actors, and seeing how each person brings their humor, intelligence and passion to the process.“

Roy Alexander Weise says: “When I first read Kimber’s play it blew me away and I knew we had to programme it. We received it on the first day of our tenure so it’s serendipitous that it’s my last production as Artistic Director. It’s the greatest privilege to be asked to direct this brilliantly funny, uniquely voiced and skilfully crafted masterpiece. We’ve pulled together an amazing team to shape the story ready for the stage. The cast are fantastic and I can’t wait to get into a rehearsal room and to show the world how f*cking funny Kimber’s play is. I can’t wait!”

Olivier award nominee Mei Mac is best known for playing Mei Kusakabe in the world premiere My Neighbour Totoro at the Barbican theatre. Other stage credits include: Dear Elizabeth (Gate Theatre), Five Plays – Tongues (Young Vic), The Lion, The Witch and The Wardrobe (Bridge Theatre), A Midsummer Night’s Dream (Regent’s Park Open Air Theatre), Under The Umbrella (Belgrade/Tamasha/Yellow Earth Theatre), The Hundred And One Dalmatians (Birmingham Rep). Television credits include: East Mode (Comedy Central) and Call The Midwife (Neal Street Productions).  

Actress and filmmaker Lourdes Faberes just wrapped filming a new series of Neil Gaiman’s Anansi Boys for Amazon. Her film credits include: Boiling Point (Netflix), Operation Fortune (Miramax/STX Global), No Time To Die (Eon Productions), Someone You Love (Zentropa Productions Intl), Room 204 (Alphaville Pictures), Spread (Katalyst Films), State Of Play (Universal Pictures). Television credits include: The Power (Amazon), The Sandman (Netflix), Grenslanders: Floodland (Eyework Netherlands/Belgium/C4), Good Omens (Amazon/BBC 2), Holby City (BBC). Her theatre credits include: Rescuing One’s Sister In The Wind and the Dust (Almeida Theatre),   Richard II (Shakespeare’s Globe), The Tide Whisperer (National Theatre of Wales), Tamburlaine (Arcola Theatre), Cruel and Tender (Young Vic).

Stage and screen actress Jennifer Kirby is best known for her role as Valerie Dyer in Call The Midwife (Neal Street Productions). Other TV credits include Endeavour (Mammoth Screen), Vampire Academy (My So-Called Company) and Holby City (BBC). Her stage credits include: Henry V and Henry IV (RSC), Teddy (Snapdragon Productions), The Massive Tragedy of Madame Bovary (Jermyn Street Theatre) and Pride and Prejudice (Regent’s Park Open Air Theatre). 

Tom Weston-Jones is due to appear in the third season of Warrior for HBO. Prior screen credits include: Sanditon (PBS/ITV),  Shadow and Bone (Netflix), The Terror (AMC), Troy (BBC/Netflix), Dickensian (BBC), Not Safe For Work (Channel 4), Copper Season 1 and 2 (BBC America), World Without End (Channel 4). Theatre credits include: Labyrinth and Enlightenment (Hampstead Theatre), and The Merchant of Venice (Almeida Theatre).

Rochelle Rose’s stage credits include: Rockets and Blue Lights (National Theatre / Royal Exchange Theatre), salt. (Royal Court), The Ridiculous Darkness (Gate Theatre), The Mountaintop (UK Tour), Cinderella and Aladdin (Oxford Playhouse), The Winter’s Tale (Orange Tree Theatre)and One Monkey Don’t Stop No Show (Kiln Theatre / Eclipse Theatre). Her screen credits include: Boxing Day (Film 4), Ear for Eye (BBC Films), Death in Paradise and Lawful Killing (BBC One).

Jeff D’Sangalang’s stage credits include: The Ocean At The End Of The Lane (West End / National Theatre), That Pesky Rat (Chichester Festival Theatre), Shut Up I’m Dreaming (National Theatre UK tour/ The Pappyshow), Boys (The Pappy Show), To Kill A Mockingbird (National Youth Theatre). 

Kimber Lee’s plays include the water palace (2021 Susan Smith Blackburn Special Commendation),  to the yellow house (La Jolla Playhouse), untitled f*ck m*ss s**gon play (2019 Bruntwood Prize International Award), saturday (2022 Colorado New Play Summit), antarctica (Radio Play for Two River Theatre), tokyo fish story (South Coast Rep, TheatreWorks/SV, Old Globe), brownsville song (b-side for tray)(Humana Festival, LCT3, Long Wharf Theatre, Philadelphia Theatre Company, Seattle Rep, Moxie Theatre, Shotgun Players), and different words for the same thing directed by Neel Keller (Center Theatre Group). She has also developed work with Lark Play Development Center, Ground Floor/Berkeley Rep, Page 73, CTG, Denver Center, O’Neill NPC, Hedgebrook, Ojai Playwrights Conference, Seven Devils, Bay Area Playwrights Festival, Great Plains Theatre Conference, ACT Theatre/Seattle, Premiere Stages, and Magic Theatre. Lark Playwrights Workshop Fellow, Dramatists Guild Fellow, member of Ma-Yi Writers Lab, and recipient of the Ruby Prize, PoNY Fellowship, Hartford Stage New Voices Fellowship, 2020-2021 Hodder Fellowship, 2020 Helen Merrill Award, 2020 Susan Smith Blackburn Prize Finalist, 2021 Susan Smith Blackburn Prize Special Commendation, inaugural winner Bruntwood Prize International Award 2019, 2021 Edgerton New Play Award, 2023 Hermitage Artist Retreat Fellow, and 2021 Herb Alpert Award in the Arts. MFA: UT Austin. 

Roy Alexander Weise is Joint Artistic Director of the Royal Exchange Theatre. He was the 19th annual winner of the James Menzies-Kitchin Award and directed his critically acclaimed, sell-out production of The Mountaintop by Katori Hall at the Young Vic. Roy was nominated at the 2018 Evening Standard Awards for the ‘Emerging Talent’ Award for his production of Nine Night at the National Theatre and in the West End. As Joint Artistic Director at the Exchange he has directed,  Cat on a Hot Tin Roof and on stage and as a digital reading The Mountaintop and developed projects such as All I Want For Christmas and Oh Woman for the theatre. Recent productions include Cat on a Hot Tin Roof(Royal Exchange), Much A Do About Nothing (RSC), Master Harold And The Boys (National Theatre), The Trick (Bush Theatre and UK Tour), Nine Night (National Theatre & West End), Dead Don’t Floss (National Theatre), The Dark (Fuel Theatre & UK Tour), Br’er Cotton (Theatre 503), The Ugly One (Park Theatre), Primetime (Royal Court) and Stone Face (Finborough Theatre).  

THE KING AND I UK & IRELAND 2023 TOUR

WEST END STAR ANNALENE BEECHEY

TO REPRISE THE ROLE OF ANNA LENOWENS

AS THE MULTI TONY AWARD-WINNING PRODUCTION CONTINUES TO TOUR THE COUNTRY UNTIL NOVEMBER 2023

Music by RICHARD RODGERS

Book and Lyrics by OSCAR HAMMERSTEIN II

Directed by Tony Award Winner BARTLETT SHER

“I doubt I will ever see a better production in my lifetime”

WALL STREET JOURNAL

TICKETS ON SALE NOW FROM KINGANDIMUSICAL.CO.UK

The multi Tony Award-winning production of Rodgers & Hammerstein’s THE KING AND I continues to delight audiences as it tours the UK and Ireland throughout the summer. Seasoned musical theatre star Annalene Beechey (The King and I UK & International Tour/ Marguerite/ Wicked/Phantom of the Opera) will reprise the role of Anna Leonowens, joining Broadway star and film actor Darren Lee (Hackers/Sisters/Chicago/Guys and Dolls) who will play the title role of The King of Siam.

Annalene Beechey said: “I am absolutely delighted to be reprising the role of Anna Lenowens in this wonderfully lavish production of The King and I. To sing such a wonderful classic score by Rodgers & Hammerstein is thrilling. That coupled with a glorious set, exquisite costumes and of course an incredible company of actors and musicians makes this the perfect show to bring to audiences around the country”

This gloriously lavish production is brought to the stage by an internationally renowned creative team under Tony Award-winning director Bartlett Sher (South Pacific/My Fair Lady/To Kill a Mockingbird) and will feature a world-class company of talented performers and a full-scale orchestra.

Joining Annalene Beechey and Darren Lee is Dean John-Wilson (London Palladium prodction of The King and I/Aladdin) who will reprise his role as Lun Tha, Marienella Phillips (Henry V/Carmen) who will play Tuptim alongside Cezarah Bonner who returns as Lady Thiang, the King’s head wife, Kok-Hwa Lie (2020 UK Tour of The King And I/ Rent) will play the role of Kralahome, Caleb Lagayan (Les Misérables) will play Prince Chulalongkorn, Sam Jenkins-Shaw (The Night Watch/Jane Eyre) takes the role of Captain Orton/Sir Edward Ramsay and Maria Coyne (Phantom of the Opera/Wicked) will be the Alternate Anna.

The ensemble includes Chi Chan, Jeffrey Chekai, Emily Grace-Ling, Cher Nicolette Ho, Rachel Wang-Hei Lau, Daniel Len, Candy Ma, Rachel MacDougall, Amelia Kinu Muus, Yuki Ozeki, Kitt Pakapom, Prem Rai, Ria Tanaka, Hiromi Toyooka, Jasmine Triadi, Jensen Tudtud, Qinwen Xue and Jason Yang-Westland. Harry Altoft, Dexter Barry, Max Ivemey and Charlie McGuire will play Louis, Anna’s son. Bethany Campbell, Coco Bridger, Cody Concha, Ethan Fung, Dulcie-Bella Hackley, Caitlin Lau, Khun Cho Lwin, Angelica Quynh An Nguyen, Tenzin Noryang, Sabri Leonel Puci, Niall Rina, Francis Benedict Sarte, Mia Snowdon, Yuen Zhai and Phoebe Zhao-Welsh will play the Royal children.

Following a critically acclaimed Broadway smash-hit run, a sold-out season at the London Palladium (which resulted in the biggest global live event cinema release of 2018) and a previous record-breaking UK and International tour, this multi-Tony Award-winning production returns to venues all over the country this summer and autumn – visiting Glasgow, Newcastle, Stoke-On-Trent, Southampton, Belfast, and Dublin, with further dates to be added.

The critical acclaim for Bartlett Sher’s production has been phenomenal. When the show opened at the London Palladium in 2018, West End critics heaped praise on the show: the Daily Mail “left the London Palladium on a bright cloud of music”, while the The Times awarded the show “Five stars for a sumptuous King and I” declaring it “a hit”. Daily Express hailed it “London’s theatrical event of 2018” whilst The Daily Telegraph concurred proclaiming the show “looks and sounds ravishing”. Another five stars were awarded from the Sunday Express and the Financial Times called it “simply spellbinding”.

THE KING AND I is a sumptuous, timeless romance from the golden age of musicals, adored by the public and critics alike – and boasting one of the finest scores ever written, including Whistle a Happy Tune, Getting to Know You, and Shall We Dance.

Set in 1860s Bangkok, THE KING AND I tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna Leonowens, a British schoolteacher whom the modernist King, in an imperialistic world, brings to Siam to teach his many wives and children

THE KING AND I – 2023 UK AND IRELAND TOUR DATES

16 – 20 May Glasgow Kings Theatre

23 – 27 May Newcastle Theatre Royal

30 May – 3 June Stoke-On-Trent Regent Theatre

13 – 17 June Southampton Mayflower

20 – 24 June Belfast Grand Opera House

27 June – 1 July Dublin Bord Gáis Energy Theatre

LISTINGS INFORMATION

Website: KingandIMusical.co.uk

Twitter: @thekingandiuk

Facebook: @thekingandiuk

Instagram: @thekingandiuk

WISE CHILDREN ANNOUNCES NEW CO-PRODUCTION OF BLUE BEARD

– ADAPTED AND DIRECTED BY EMMA RICE

Artistic Director of Wise Children, Emma Rice today announces the world première of her adaptation of Blue Beard, which she also directs. Blue Beard, a co-production with Birmingham Rep,HOME Manchester, Royal Lyceum Theatre Edinburgh and York Theatre Royal opens at Theatre Royal Bath on 8 February, with previews from 2^nd, and runs until 10 February, before embarking on a UK tour to venues including the partner theatres (it will be at Manchester HOME from 13 to 24 February), with further dates to be announced shortly.

Emma Rice said today, “Not wanting to add to the number of dead women that are scattered throughout our literature and media, I have always avoided the gruesome tale of Blue Beard. However, haunted by the regular and painful chime of murdered woman in the news, I woke one morning with the story knocking powerfully at my dreams. I pulled my copy from the shelves and with some trepidation, unlocked the door of Blue Beard’s castle. What I found hidden in those pages was a story not about dead women but about vibrant, flawed, joyful living ones. Here was a story about female friendship, intellect and survival. It is also a story in which, by working together, the aggressor is vanquished. And this is precisely why I want to tell Blue Beard now. In my middle years I want to join forces with those I love and take down the ones who threaten us. I, for one, have had enough, and for Zara Aleena, Jack Taylor, Bibaa Henry, Nicole Smallman, Daniel Whitworth, Sarah Everard and the thousands and thousands of others who have died at the hands of violent men – Blue Beard is my defiant and hopeful answer.”

A Wise Children, Birmingham Rep, HOME Manchester, Royal Lyceum Theatre Edinburgh and York Theatre Royal co-production

BLUE BEARD

Adapted and directed by Emma Rice

Blue Beard the Magician makes hearts flutter and pupils dilate. With a wink, a stroke and a flick – things just seem to vanish. Cards, coins, scarves… and women.

Puff! Gone. Without a trace.

He meets his match when his young bride discovers his dark and murderous secret. She summons all her rage, all her smarts and all her sisters to bring the curtain down on his tyrannous reign.

Emma Rice brings her own brand of theatrical wonder to this most beguiling and disturbing of tales. With her signature sleight of hand, Blue Beard explores curiosity and consent, violence and vengeance – all through an intoxicating lens of music, wit and tender truth.

When someone tells you not to look, OPEN THE BLOODY DOOR!

Emma Rice is the proud and excited Artistic Director of her company, Wise Children. She adapted and directed the company’s Wuthering Heights (UK and US tour), Bagdad Cafe (The Old Vic), Angela Carter’s Wise Children (The Old Vic/UK tour) and Enid Blyton’s Malory Towers (Bristol Passenger Shed/UK tour).  As Artistic Director of Shakespeare’s Globe (2016/18), she directed Romantics Anonymous, Twelfth Night, A Midsummer Night’s Dream and The Little Matchgirl (and Other Happier Tales). For the previous 20 years, she worked for Kneehigh as an actor, director and Artistic Director. Productions included The Flying Lovers of Vitebsk, Tristan & Yseult, 946: The Amazing Story of Adolphus Tips, The Wild Bride, The Red Shoes, The Wooden Frock, The Bacchae, Cymbeline (in association with RSC), A Matter of Life and Death (in association with National Theatre), Rapunzel (in association with Battersea Arts Centre), Brief Encounter (in association with David Pugh and Dafydd Rogers Productions), Don John (in association with the RSC and Bristol Old Vic), Wah! Wah! Girls (in association with Sadler’s Wells and Theatre Royal Stratford East for World Stages), and Steptoe and Son. Other work includes the West End production of The Umbrellas of Cherbourg, Oedipussy (Spymonkey), The Empress (RSC), and An Audience with Meow Meow (Berkeley Repertory Theatre). In 2019 Rice received the UK Theatre Award for Outstanding Contribution to British Theatre.

This production is supported by Cockayne – Grants for the Arts and The London Community Foundation.

BLUE BEARD

LISTINGS:

Bath Theatre Royal:                      

2 – 10 February

www.theatreroyal.org.uk

Box Office: 01225 448844

Manchester HOME

13 – 24 February

www.homemcr.org

Box Office 0161 200 1500

Further tour dates, to be announced shortly.

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 / ticketsales@wiltshirecreative.co.uk

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.