Luke Adamson’s bittersweet love letter to theatre is fantastic Christmas fare – a behind the scenes peek at panto full of camp, bitchy backstabbing and humour that charms but has a deep sense of melancholy.
It’s the last show in the annual panto run in a provincial theatre and the two actors playing the ugly sisters in Cinderella have shared a dressing room for weeks. The pair acknowledge their routines are dated and getting less laughs, but gamely soldier on as their tolerance of each other nears breaking point. We see their backstage bickering about missed cues, premature pickups and overacting between scenes escalate to Shakespearean tragedy.
As well as the personal barbs, there is musing on the state of theatre and how the industry treats artists, the use of “names” rather than skilled actors and the sustainability of panto as the price of visiting the theatre once a year to see the same old routines performed in different costumes becomes untenable. Matthew Parker’s Chancery is a jobbing actor, falling into parts and the beds of company members. His “It’s only panto” attitude riles Worth (Bryan Pilkington) who insists he should respect panto as an art form.
Adamson’s writing is smart and witty, with his love for theatre shining through the angry observations. The characters are sketched nicely with just enough information to make their actions understandable and endear them to the audience in 70 minutes. Kate Bannister directs with her usual flair and Karl Swinyard’s dressing room set is a delight. The removal of a dressing rack and swift lighting change transports the actors “onstage” to perform delightfully cliched routines – there is even the traditional singalong competition.
Matthew Parker delights in the showier, more physical role of Chancery, gruesomely OTT as the ugly sister and seemingly constantly on the verge of slapping Worth backstage. Bryan Pilkington’s Worth is quieter but exquisitely portraying the character crumbling both on and offstage in a memorable performance. Together they are a brilliant double act – with a sparkling chemistry even in the quieter scenes and a joy to watch. Fantastic Christmas fun.
Tom Stoppard’s 2006 play still sparks in the hands of director Nina Raine. Jam packed with wordy arguments about free speech, politics – and music, the play spans the decades between the Soviet invasion of Czechoslovakia and the Velvet Revolution.
Die-hard Marxist Max (Nathaniel Parker) is appalled when his student Jan (Jacob Fortune-Lloyd) returns to Czechoslovakia. Jan appears wide-eyed and naïve about the reality of the situation in Czechoslovakia, and his collection of LPs he’s brought over from England is his main priority. As the oppression of inconvenient voices begins to impact on Jan and his work, he still rails against the moral exhibitionism of his friends open letters criticising the regime. When The Plastic People of the Universe (look them up – fascinating stuff) are arrested, he finally understands that these letters are the people’s only weapon, and the authorities’ repercussions for his actions are aimed at his greatest love.
Max continues to defend Communism, despite the Stalin blip, even when he witnesses the suppression of free speech in his visits to Prague. His materialistic views are a constant itch in his relationship with his wife Eleanor (Nancy Carroll) a classics scholar whose tutorials on Sappho are a perfect opportunity for Max to argue and flirt with her students when discussing the mind and body.
Nathaniel Parker is fantastic as the loud and bullish Max, while Jacob Fortune-Lloyd captures the changes in Jan through age and experience with a nuanced and engaging performance. Nancy Carroll is brilliant as Eleanor – spitting out her lines about cancer with fire and desperation and stealing every scene – and her daughter Esme in the second act.
The debates are often wordy, but zip back and forth with wonderful dashes of humour. Staged in traverse, the entrances and exits can sometimes be a little clumsy and noisy offstage, but Nina Raine’s direction keeps the pace from flagging. Scene changes are accompanied by a cracking soundtrack from Jan’s collection, with the cast dancing along with a slightly self-conscious energy that feels like an office party. The appearances of Pan/Syd Barrett during musical interludes are a puzzling but enchanting touch. Some of the arguments appear prescient, some feel very dated, but they all grab your attention in the hands of this magnetic cast. Of course, like Jan, you could just sit back and enjoy the music.
Rock’N’Roll will thrill Stoppard fans and is a real meaty, musical treat of a production.
Upstairs at the Gatehouse, London – until 14th January 2024
Reviewed by Mitzi Luck
4****
You’re A Good Man, Charlie Brown is a fun-filled musical which will fulfil the need for whimsy and laughs with Charles M. Schulz’s classic characters over the holiday season. Fans of the ‘Peanuts’ comics will be well-versed in the funny traits of the main characters and this musical succeeded in creating a series of familiar ‘Peanuts’ vignettes with a musical flair.
We first meet Charlie Brown, played by Jordan Broatch, as he decides which part of the day is his least favourite with the most heart-warming optimism. He pines for his kite to fly, the attention of the Little Red-Haired Girl (an unseen character) and for more than just peanut butter sandwiches for lunch.
All the characters face their trials and tribulations of a day in childhood, juxtaposed often with the astute wisdom of one much older and wiser. Linus Van Pelt, played by Jacob Cornish, brings this to the fore by being both adorable and wise. This really shines through in the song ‘My Blanket and Me’ with Jacob Cornish bringing some sass to Linus’ character that has the audience laughing.
A ‘Peanuts’ themed musical wouldn’t be complete without a Snoopy character, played by Oliver Sidney. I particularly loved his song ‘Suppertime’ in which Snoopy, played by Oliver Sidney, transforms into a tap-dancing songster. The highlight was his sudden transformation back into a goofy dog in his own little world humming away at the appearance of Charlie Brown, and then back into a star for his final notes!
The whole cast is full of energy and their vocals create a fun and dynamic musical. The set, designed by Ruby Boswell-Green, is created with 2d illustrations and they are so reminiscent of a ‘Peanuts’ cartoon that I would have loved to have seen more or for them to take up more of the stage. The characters all immerse themselves in the set in clever and amusing ways, such as popping up behind a school bus illustration or waving clouds in the air.
The musical wouldn’t be complete without an excellent performance from the band, directed by Harry Style. The timing and backing music were always spot on and created a wonderful atmosphere. All the music is catchy, uplifting, and sure to keep the audience coming back to this classic musical with much-loved characters.
We are absolutely delighted to announce the winner of the Aurora Award 2023 is SpitLip and their wonderful productionOperation Mincemeat
Our reviewers nominated them because “the incredible success that Operation Mincemeat has become since it’s transfer to the West End. It is impossible to pick out a single member, as it is such a team effort” and “SpitLip – Operation Mincemeat – 100 votes from me please and thank you”
You can find the review for their 5* show, Operation Mincemeat here :
“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.” Fortune Theatre review
“SplitLip’s lyrics are fast and funny, cramming more laughs into one song than some productions manage in an entire show” Southwalk Playhouse review
So a huge congratulations to SpitLip and Operation Mincemeat and thank you for their amazing contribution to keeping us entertained during 2023
The National Theatre and Various Productions announce today that Sheffield Theatres’ smash-hit production, Standing at the Sky’s Edge, has been awarded the internationally recognised ‘Made in Sheffield’ ® accolade ahead of it making its West End premiere at the Gillian Lynne Theatre in London from 8 February 2024. Originally created to protect the city’s unique reputation for world leading manufacturing, this is the first time a theatre production has received this registered trademark.
Standing at the Sky’s Edge is a multi-award-winning production, winning ‘Best New Musical’ at the 2023 Olivier Awards earlier this year with Sheffield singer-songwriter, Richard Hawley and Tom Deering also winning ‘Best Original Score and New Orchestrations’. Previously it has won the 2020 South Bank Sky Arts Award for Theatre and ‘Best Musical Production’ at the UK Theatre Awards in 2019.
Written as a love letter to Sheffield and the city’s iconic Park Hill Estate, Standing at the Sky’s Edgeis directed by Sheffield Theatres’ Artistic Director, Robert Hastie and features songs by the legendary Sheffield singer-songwriter, Richard Hawley. With a hilarious and gut-wrenching book by Sheffield playwright, Chris Bush, Standing at the Sky’s Edge charts the hopes and dreams of three generations over the course of six tumultuous decades, navigating universal themes of love, loss and survival.
First commissioned by Sheffield Theatres and Various Productions,Standing at the Sky’s Edge had its world premiere at the Crucible Theatre in 2019. Following a hugely successful, sold-out run, it returned to the Crucible Theatre in December 2022, selling out again, before making its London premiere in the National Theatre’s Olivier theatre in early 2023 where it continued to sell out and receive standing ovations.
Revealing the history of modern Britain, through the stories of this iconic housing estate, Standing at the Sky’s Edge, is a heartfelt exploration of the power of community and what it is we all call home.
Richard Hawley, singer-songwriter, said:
“I’m just a musician and to be connected in any way to Made in Sheffield®is just an honour for me – it’s mind blowing”
Robert Hastie, director and Artistic Director of Sheffield Theatre, said:
“To receive the Made in Sheffield® mark is a true honour. On behalf of everyone who contributed to the creation of Standing at the Sky’s Edge, we are thrilled that the production is the first of its kind to receive this accolade. I’d like to pay particular tribute to the craft and dedication of our in-house teams at Sheffield Theatres, who year-round turn ideas from brilliant artists into the highest quality work on stage. We are incredibly proud of Standing at the Sky’s Edge, for the way it has been received by audiences at home and now in London, and are delighted to have it recognised amongst Sheffield’s celebrated makers.”
Chris Bush, playwright, said:
“Etymologically, playwrights have more in common with cartwrights or shipwrights than authors or poets – we aren’t just abstract storytellers, but makers of things. Nowhere makes things better than Sheffield, and it’s a huge honour to see our work of artistic creation acknowledged alongside the city’s proud industrial heritage.”
Charles Turner, Master Cutler, Chair to Made in Sheffield, MD of Durham Duplex, said:
“Standing at the Sky’s Edge is as Made in Sheffield ® as my knives, it’s created here, its music comes from here, it’s about the heart and soul of Sheffield and tells the story of Sheffield to the world. We’re an export city and to have something like this going to London as a cultural export item is absolutely brilliant – why wouldn’t we give it the Made in Sheffield ® mark?!”
Rupert Lord, Producer, Various Productions said:
“Our musical is a wholly Sheffield-made show. Conceived, written and first performed in Sheffield deploying the enormous talents of a Sheffield born and bred writer, Chris Bush and songwriter, Richard Hawley and directed by a Yorkshireman, Rob Hastie, who is Artistic Director of Sheffield Theatres, this production is truly a love letter to this great city. I couldn’t be more delighted and proud that it has now been awarded the honour of using the iconic Made in Sheffield ® mark. Like great Sheffield cutlery, we believe Standing at the Sky’s Edge is of the highest quality and built to last, and this award is a fitting tribute to the creative energies that the city embodies.”
Kate Varah, Executive Director, National Theatre said:
“Standing at the Sky’s Edge is a uniquely special musical, deeply grounded in its specificity to Sheffield and, one that beautifully transformed our Olivier stage into the city’s iconic Park Hill Estate earlier this year. All at the National are thrilled to be part of the show created in Sheffield and are delighted that such a unique honour has been bestowed upon it.”
Standing at Sky’s Edge will make it West End premiere at the Gillian Lynne Theatre from 8 February 2024. Joining the cast for this new production are, Elizabeth Ayodele (Small Island, National Theatre; Steel Magnolias, Trafalgar Theatre Productions) as Joy, Joel Harper-Jackson (Cock, Elliot & Harper Productions; Kinky Boots, Adam Blanshay Productions) as Harry, Sharlene Hector (A Strange Loop, Trafalgar Theatre Productions/National Theatre; Hairspray, Adam Spiegal Productions/Fiery Angel) as Grace, Mel Lowe (Orlando, The Michael Grandage Company; A Billion Times I Love You, Homotopia/Liverpool Everyman and Playhouse) as Connie, Laura Pitt-Pulford (Seven Brides for Seven Brothers, Regent’s Park Open Air Theatre; Emmerdale, ITV) as Poppy and Lauryn Redding (Bloody Elle, Rebel Productions/Royal Exchange) as Nikki.
Returning to reprise their roles are, Samuel Jordan (Masters of the Air, Apple TV; Sex Education, Netflix) as Jimmy, Baker Mukasa (The Comedy of Errors, Royal Shakespeare Company; Tina: TheTina Turner Musical, Stage Entertainment) as George, Alastair Natkiel (Line of Duty, BBC; Strangers on a Train, Barbara Broccoli) as Marcusand Rachael Wooding(Pretty Woman: The Musical, Ambassador Theatre Group Productions; We Will Rock You, Queen Theatrical Productions/Phil McIntyre/Tribeca Theatrical Productions) as Rose. Further casting will be announced.
Hastie is joined by set and costume designer, Ben Stones; choreographer, Lynne Page; orchestrator and arranger, originating music supervisor, Tom Deering; lighting designer, Mark Henderson; sound designer, Bobby Aitken; wigs, hair and make-up designer, Cynthia De LaRosa and casting director, Stuart BurtCDG.
Richard Hawley has recently released Now Then: The Very Best of Richard Hawley, his first ever best of collection. This 36-track deep dive into his hugely successful career to date includes his original versions of songs from the musical including Open Up Your Door, Tonight the Streets Are Ours, Coles Corner and the production’s title track, Standing at the Sky’s Edge. He also has a UK and Ireland tour with gig dates from May 2024.
Standing at the Sky’s Edge, the original live cast recording is available to stream via Spotify and purchase online from major music retailers.
Tickets for the musical are available from £20 at SkysEdgeMusical.com. Assisted performances are available throughout the run.
Hall for Cornwall, Truro, Cornwall – until the 31 December 2023
Reviewed by Kerry Gilbert
5*****
‘Think Your Happiest Thoughts’
This year, audiences are being treated to a Cornwall Playhouse production of Peter Pan which is running at the Hall for Cornwall until 31st December 2023. The entire show is a delightful spectacle, full of huge sets, glitzy costumes and plenty of laughs for the whole family.
The atmosphere was lively and is it any wonder as it was clear to see that the audience was in for a real treat! The show incorporates a mixture of modern pop classics to great effect – there’s truly something for everyone, and you’re sure to be singing the songs on your way home.
Ollie McFarlane is charismatic and dynamic as Peter Pan, who gave an impressive performance with the talented Jade Lauren, as Wendy. The pair complimented each other brilliantly, and their flying across the set against the backdrop of a star lit sky with Take That’s – Rule the World playing was truly magnificent.
Sara Markland is a sweet and chirpy Tinkerbell, with great vocal range and friendliness you’d expect from being Peter Pan’s friend. Olivia Warren has the audience thoroughly entertained as Nana, excellent comic timing and her saying Doggy Doggy Doggy! audience replies Woof, Woof, Woof! was a display of local humour and popular with the Children, whilst batting out sweets.
Lucy Park showcases a powerful voice as Mrs Darling, alongside Dan Ball’s excellent Mr Darling, and their performance of Anything You Can Do (I Can Do Better) was a very popular part of the show!
The show’s ‘Lost Boys’ were cute and just as superior as their adult counterparts.
No panto would be complete without a villain and the Kernow King (Edward Rowe) did a superb job as Captain Hook, giving a powerful performance throughout. The hilarious take on The Twelve Days of Christmas was undoubtedly my favourite part – Be prepared for this and it will leave you in stitches!
I love how the classic story is seamlessly brought up to date with song choice and references to modern culture. The special effects are incredible and made it a professional and clever performance. Panto is escapism for the whole family, and this production delivers this in buckets – along with festive joy, sparkle, and cheer!
Tanya Moiseiwitsch Playhouse Theatre, Sheffield – until 30th December 2023
Reviewed by Sophie Dodworth
3***
Christmas cheer is missing from A Town Called Christmas, and it is Clementines job to find it and bring it back to enable some Christmas spirit. Join her on the search! This play written and directed by Elvi Piper, brought to you by Gala Durham and Wrongsemble is on until just after Christmas and is perfect for little ones aged three and up. The whole show is only 55 minutes long, so just enough for wriggly legs.
On entering the Playhouse, the Christmassy scene is set, a little Christmas tree in front of the glowing fire, and you get to meet Clementine in all her Christmas cheer. She decides to visit Christmas, a town that her late auntie had traditionally told her tales about during every festive season. Where she has heard that chocolate coins are currency, the streets are filled with snowball fights and gingerbread houses glow under beautiful twinkling lights. During her journey she meets many characters, all portrayed by the three actors on stage, they all take on the different roles and do it with great ability. She tries with great effort to find and bring back the cheer that was once in the town, will she do it?…
This short show is full of musical numbers, sung with great harmonies from all three members of the cast. All the actors on stage have strong voices. Puppetry is also used to take us back in time, to when Clementines Aunty was a young girl. There are 2 puppets on stage, operated by the cast and this is done with ease, the children in the audience certainly sat up for these parts.
A really cheery, festive piece of theatre to get you in to the spirit.
The Magic Circle’s presentation will take place at the end of tonight’s performance.
Magic show, UNBELIEVABLE, re-imagines live magic, fusing the very best of illusion, slight-of-hand and mind-reading. The multi-talented company of actors and musicians have brought nights of jaw-dropping entertainment to audiences since opening at The Criterion Theatre. In acknowledgement of the cast and crew’s skill and dedication to the craft, The Magic Circle will honor them with rare invitations to become certified magician apprentices. This is the first step to becoming a member of the world’s foremost magic society.
Founded in 1905, all magicians are required to prove their skill to enter The Magic Circle, with the understanding that they should continue to promote and advance the art of magic. On top of that, members must give their word to never disclose the secrets of the artform. The cast and crew of Unbelievable have continued to adhere to this code throughout the run of the show and now, in recognition of their work, they are to be rewarded.
The Magic Circle’s presentation will take place at the end of Friday night’s performance.
Marvin Berglas, President of The Magic Circle said: “Congratulations to the entire cast and crew of Unbelievable. Despite having little or no previous formal training in the art of magic, they all demonstrated considerable dedication, talent, and passion for our art through their wonderful performances. As the President of The Magic Circle I extend, on behalf of our Council an invitation to become Apprentices of The Magic Circle and hope that their love of Magic will continue to grow and flourish.”
Andy Nyman, co-director and writer of Unbelievable and member of The Magic Circle said:“When myself, Andrew and Derren saw the dedication, love and skill the cast brought to learning and performing magic, it felt only right that they should take the next step and be honoured by becoming Apprentices of the Magic Circle. We can’t wait to see what there next steps in the art will be.”
This unique invitation will read as follows:
Despite having little or no previous formal training in the art of Magic, you have all demonstrated to the Council of The Magic Circle your considerable dedication, talent, and passion for our art through your wonderful performances in the West End show, ‘Unbelievable’.
This is to certify that Marvin Berglas, President of The Magic Circle, wishes to extend to the entire Cast and Crew of UNBELIEVABLE a personal invitation to apply to join The Magic Circle as an Apprentice.
The cast and crew receiving invitations are as followed:
Cast: Laura Andresen Guimarães, Alexander Bean, Samuel Brenton, Samuel Creasey, Izalni Batista Nascimento Junior, Yolanda Ovide, Hannah Price, Emily Redlaff, Rhys Shone
Ossett Town Hall, Wakefield – until Sunday 17th December 2023
Reviewed by Lauren Fordham
5*****
On Thursday I had the pleasure of seeing Elf the Musical by Diva Productions.
The show started very similarly to how a film does, with a screen showing credits naming key contributors to the show, thus creating a melding effect between movie and musical. This both drew me in and intrigued me and was a very unique and effective way of referencing the 2003 film and yet drawing the viewer into the onstage action as well. I loved how the lit Christmas trees bookending the stage, which on entering, I had thought simply to be a feature of the hall, were another tool to draw the audience into the story as Jovie is decorating them when Buddy meets her in the New York Macys store.
In cast terms, the shining star of the show is undoubtedly Michael Markey’s Buddy, who has boundless enthusiasm, a beautiful voice and brings to the show a bouncy demeanour that reminded me of Disney’s Olaf – should he choose to ‘migrate’ in his next role I can see a place for him in Frozen in the West End.
Credit is also to Charlie Scholes as Michael, Buddy’s brother, who evokes sympathy when he is ignored by his stressed and self-centred dad, Walter (Jonny Landels). I also loved the reconnection and childlike joy shared by Michael and his mom, Emily (Helena Hunter) as they witness Santa flying outside their window – another triumph of Lighting Designer Adam Moore and Video Screen Designer Andrew Ashley.
The screen and lighting was used masterfully throughout the show to indicate different locations, from the warmly red-lit Santa’s workshop, movement and the speeding of time when it showed Buddy’s journey from the icy North Pole to the bustle of New York City. Those skilful production choices came from and clearly highlighted Diva Productions’ co-founder and ‘Elf’ Video and Screen Designer Andy Ashley’s professional background in photography, scenic projection and film. This made the stage, and indeed the show, feel so much bigger, sleeker and better than a regional production, in fact I felt it more absorbing and engrossing than the West End production I saw in December last year. Ready your sleighs and your elves to catch it before it flies back to the North Pole on Sunday 17th December, or you’ll be on the naughty list!
Southwark Playhouse Elephant – until the 17th February 2024
Reviewed by Fiona Leyman
4.5 ****
We all know the classic Disney story The Little Mermaid. Ariel, who has the voice of an angel is tricked by the evil sea witch into giving up her voice in exchange for legs, and all to find true love. But there are always two sides to every story, and The Queen of Disney Villains, Ursula, is here to set the record straight. Did Ariel really have such an angelic voice? Was this a father’s bid to ensure a suitable Queen for the Kingdom of Atlantica? Was Ursula really that evil or did a man make her in to the “bitch” she was today?
To understand the ending of this love story, we must go back to the beginning when they were just growing up. Ursula and Triton were not siblings as some publications would lead you to believe. Their love was forbidden, cruelly manipulated by a father who wanted his kingdom to be ruled by a great King. Resulting in a tragic betrayal and banishment to the darkest depths of the ocean, Ursula became the evil octo-woman she has been portrayed for all these years. Will she get her Happily Ever After? You’ll have to come and see to find out!
Shawna Hamic (Orange Is the New Black, Les Misérables) is the perfect “Sea Bitch”. Her attitude, charisma and incredible voice commands the stage, elevating this iconic role to new heights. Her larger-than-life personality is perfect for the stage and this type of role. I would encourage everyone to see her perform on stage.
Everyone in this weird and wacky production deserved that standing ovation, but the standout star of the night goes to Allie Dart (2:22 A Ghost Story) who takes on the roles of Sebastian the Crab and Chef, alongside multiple others throughout. Her ability to switch between characters, accents and costumes is commendable. Her energy and stage presence was infectious, and the audience was completely absorbed in her performance.
Unfortunate: The Musical Parody comes in at a little short of 3 hours long and for such a small venue, this can get a bit uncomfortable at times. It was also difficult to distinguish the words they were singing at times because the music overpowered their voices, which was unfortunate because the songs were excellent. Although, this wasn’t a bad thing when Ariel, played by River Medway (RuPaul’s Drag Race UK) was singing because she was “atrocious” (her singing was intentionally bad).
There is so much to say about this production, from amazing costumes, which left little to the imagination to the unique puppetry. An incredible score by Tim Gilvin and Howard Ashman, sees familiar melodies from The Little Mermaid turned on its head with genius lyrics and innuendos. This is a show for those who “didn’t make it to Disney”. Who aren’t “perfect” and will be accepted into a society regardless of who/what they are. Don’t be fooled into thinking this classic tale is for children though, its rude, its camp and it’s not for the faint hearted. Please do not bring your children!
UnFortunately for us, this musical parody is a Wild, Funny and Flamboyant Smash Hit which will have the incredible songs stuck in your head for days. It’s Fabulous Darling!
