Home

Network Theatre, London – until 24th February 2023

Reviewed by Mitzi Luck

4****

The Wedding Speech written by Cheryl May Coward-Walker is a powerful play that takes its audience on a journey that feels at times humorous, and at other times painful. The writer gets the balance between the two so relatable to real life, as the character teeters between finding forgiveness and joy from within a broken relationship with her mother and self-destruction and anger. Rosemary is played by Princess Donnough and is our sole performer. We see everything through her eyes and her reactions to speaking to the guests through the door.

We are taken into Rosemary’s confidences in the middle of her mother’s wedding. She has just nipped into the toilets to make the final preparations to her speech for her mother’s wedding and she speaks directly to us. She lets us know pretty quickly that things are not at all straightforward between the pair, but she is carefully light-hearted to begin with. What should she say at a happy occasion that can carefully unmask the unhappiness within their bond? Rosemary is dynamic, witty and fun – she is just the type of person you want to get to know.

The play twists and turns as we see just how damaged the relationship with her mother is and exactly how far Rosemary feels pushed into acting in a way that she doesn’t fully understand. It is seeing Rosemary in her most intimate moments, away from the guests, fully aware that she doesn’t know if she’s making the right decisions that feels the most powerful to me. Princess Donnough’s acting is so engaging and makes it is hard not to want to offer comfort to the character as she struggles with her own inner demons alone.

This play leaves the audience thoughtful about the issues raised. It is so exposing of many issues that are often hidden within families that it feels raw and emotional, but there is comfort in the relatability and the friendship created between Rosemary, played by Princess Donnough, and the audience. I highly recommend seeing this play while you have the chance.

Nottingham Theatre Royal – until Saturday 25 February 2023

Reviewed by Louise Ford

4****

“Your honor , with all due respect: if you are going to try my case for me, I wish you wouldn’t lose it.”

Who doesn’t love a courtroom drama? The little “man” against the establishment.

The Verdict was written by Barry Reed and was made into an award winning film in 1982, starring Paul Newman, it has been brought to theatres in the UK by Middle Ground Theatre Company Ltd. The UK tour started in Cardiff and ends in Oxford in July 2023. This production has been adapted for the stage by Margaret May Hobbs and is directed by Michael Lunney.

Even before the warning bell rings we see Frank (Jason Merrells) in his chaotic office getting ready for another day. He’s busy brushing his teeth, smelling his shirt, moving stacks of files around his cluttered desk and assessing how much whisky there is left in the bottle. This all sets the scene for the life and career of a man who’s washed up and is reduced to ambulance-chasing. He’s tired and disillusioned and it shows in his crumpled suit and battered brief case. His latest case, which has been running for sometime, is a medical malpractice suit against one of Boston’s largest Catholic hospitals. The case of Debra Ann Doherty, a young mother left in a vegetative state after a mishandled delivery of  her third child.

Mrs McDaid (Sarah Shelton) puts her faith in Frank and is dismayed to hear that he has rejected the Bishop’s offer (Richard Walsh) of an out of court settlement. Frank’s share of the settlement would have sorted out his back rent and the IRS and Debra’s medical bills would be covered. So what is Frank thinking?

After visiting Debra in hospital , Frank realises that he has to do the right thing. So he opts to go to trail.

The set is a mishmash of Frank’s office, snowy Boston, Meehan’s bar and transforms to the court room and the lawyer’s office. The audience is the hospital and the jury. It’s a clever way of incorporating several different scenes without disrupting the flow of the story.

Jason Merrells plays Frank is a calm and understated way his accent is faultless throughout. His rapport with Moe Katz ( Vincent Pirillo) is touching. Moe is his mentor and staunch ally, not afraid to say it how it is.

Whilst the cast is predominately male there are strong performances from the women, particularly Teresa Jennings (as Mary Rooney) and Holly Jackson Walters (as Natalie Stampanatto). One a buttoned up, loyal nurse the other a nervous, hand-wringing witness.

As to be expected there are many twists and turns, some of which drew gasps from the audience who were all clearly invested and absorbed by the story as it unfolded .

All in all a good solid production with some twists and turns.

Richmond Theatre, Richmond – until 25th February 2023

Reviewed by Bobbi Fenton

5*****

Blood Brothers is one of the best pieces of theatre I have ever seen, and I wish I could give it six stars. Set in the 1960’s, we see single mother Mrs Johnstone (Niki Colwell Evans) struggling to afford the children she already has, and with a pair of twins on the way. She makes a deal with the rich Mrs Lyons (Paula Tappenden) who is unable to have children, to give one of the babies to her, even swearing on the Bible to keep her word. However, after this exchange and the return of Mr Lyons (Tim Churchill), Mrs Lyons becomes worried about ‘her son’ finding out he is a twin, and fires Mrs Johnstone as her cleaner. Throughout this play we watch the two boys become friends, and make a pact to be blood brothers, unaware of their actual familial link. We watch as they both grow up in complete polar opposite homes, with Mikey (Sean Jones) experiencing life in a poor household, whereas Eddie (Joe Sleight) grows up with rich parents, experiencing little difficulty. Their friendship even survives both families moving far away. The difference in circumstances between them is multiplied as the boys grow older. Mikey has to get a job and is barely getting by, after marrying and having a baby with Linda (Olivia Sloyan) who was the third party in their friendship group as children, as well as getting in trouble with the police after losing his job. Eddie, however, gets to go to university and enjoy being young while not worrying about money. This builds the tension between the characters, as we see Mikey eventually snap, and lash out at Eddie over the privilege that he has had for his whole life. It is a very interesting parallel as the two are twins, but they don’t know it, and yet there are still similarities between them despite polar opposite upbringings. By the end of the play, we watch this tension all unfold in an incredibly dramatic scene, which leaves the audience wondering whether it would have been the same outcome if Mrs Lyons had chosen the other baby.

The singing that is performed by the whole cast in this play is absolutely beautiful, that will give you goosebumps at times. I especially enjoyed the repeated song ‘Marilyn Monroe’ by Mrs Johnstone, not to mention the absolutely wonderful song ‘Shoes upon the Table’, which is also repeated a few times, by the Narrator (Richard Munday).

This show is extraordinary, with an ending that will leave you speechless. Make sure not to miss it.

RICHMOND THEATRE SEARCHING FOR REAL-LIFE COUPLE NAMED ‘CHARLOTTE AND THEODORE’

To celebrate Ryan Craig’s new play Charlotte and Theodore coming to Richmond Theatre from 21-25 March, the theatre are looking to treat a real-life couple with those names to win a fantastic exclusive night out – and see their namesakes live on stage, played by TV’s Kris Marshall (Death in Paradise, My Family) and Eve Ponsonby (Harry Potter and the Cursed Child). 

The couple will be treated to a pair of tickets to see the show on a date of their choice alongside access to the exclusive Ambassador Lounge at the theatre, where they will be treated to the Ultimate Ambassador Lounge Experience including half a bottle of the bubbliest champagne and a luxury box of chocolates to enjoy on their date night.

Couples eligible (including those with variations on the two names e.g. Teddy, Thea, Lottie, Theodosia, Charles) should email [email protected] to claim their prize.

Richmond Theatre are also offering free tickets to the show to anyone with the name ‘Charlotte’ or ‘Theodore’ (or variations of those names). The name-bearer will be entitled to a pair of tickets for a date of their choosing – but be fast as there are only a limited number of tickets available. To claim, email [email protected]

Kris Marshall stars as Teddy, a charming, idealistic university professor at the top of his game, in Ryan Craig’s witty and challenging new play. Together with his wife and colleague Lotty, Teddy is determined to make a difference in their academic world and keep the spark in their relationship alive. This funny, timely and thought provoking new play will have you talking long after the curtain comes down.

Brighton Theatre Royal – until 25 February 2023

Reviewed by Sue Bradley

4****

Noughts And Crosses, Malorie Blackman’s hugely successful novel for young adults, has been adapted for the stage by Sabrina Mahfouz.

Set in a dystopian version of Britain, with a have/have-not split society, one faction is privileged and wealthy, the other is resentful and down-trodden. There might be a temptation to think this will simply be a story about class or racism but this production wrong-foots us from the beginning and the actors, playing against racial stereotyping, quickly disabuse us of simple analyses.

This is more a version of the star-crossed lovers theme we have seen throughout literary history. Young people experiencing love, perhaps for the first time, against a backdrop of a world that presents enormous challenges to that love. There is much that is tragic in this particular story but it is not just a re-tread of Romeo And Juliet.

The two young lovers, Sephy and Callum, played by Effie Ansah (The Maladies, Almeida Theatre) and James Arden in their first leading roles are engagingly adolescent – full of life, love and confusion and there is much to sympathise with as they negotiate their relationships with their respective families and each other.

Because this is conceived as a young adult story, rather than a story for the older and perhaps more world-weary, some of the plot devices are a bit simplistic. But it should taken as a testimony to the story-telling that the large number of people in the audience of a similar age to our lovers were remarkably silent throughout the very long first act – no rustling of crisp packets, no idle whispering. The whole cast kept the story unfolding at just the right pace to keep younger minds fully engaged.

Many productions make a point of having the audience come in to see a lavish set. This show had their (apparently) minimalist set on show from the start but with an ingenious combination of segmentation of the set and clever lighting and projection, the set came alive and the changes really helped to create a different tone for each scene. A word of appreciation, also, for the sound design which is subtle and effective.

If you are an adult with some life experience behind you, you are unlikely to see something you have never seen before in this play, but it is not heavy-handed in its point-making and, for young adults there is much to relate to and perhaps to talk about afterwards. And, after all, that is what we all want great theatre to do; give us something significant to talk about.

Last night, Bat Out of Hell celebrated its return to London’s West End at the Peacock Theatre. Stars in attendance included Graziano Di Prima, Jo Wood, Rhys Connah, Natalia Tena and more.

BAT OUT OF HELL – The Musical stars Glenn Adamson as Strat, Kellie Gnauck as Raven and original leading cast members Rob Fowler and Sharon Sexton as Falco and Sloane, respectively.
 

BAT OUT OF HELL – The Musical has book, music and lyrics by Jim Steinman, direction by Jay Scheib, choreography adapted by Xena Gusthart, with musical supervision and additional arrangements by Michael Reed.  

Yvonne Arnaud – until 25^th February 2023

Reviewed by Heather Chalkley

4****

In classic Ayckbourn style, we have a gentle play to entertain you on a rainy day. He gives you enough plot twists and belly laughs to keep you fully engaged. Although written some 50 years ago, the human relationships and humour that comes out of them is just as relevant today as it was then.

Liza Goddard (Sheila) plays the faithful wife and home maker that is definitely not as simple as her husband believes her to be. The blank and confused expressions Goddard pulls needs no words, however the words come and an extra layer of fun with them. Steven Pacey (Philip) is the passionate husband that thinks he has deceived his wife quite successfully. Philip’s (Pacey) purple face and sheer frustration as the story unfolds is hilarious. Olivia Le Andersen (Ginny) captures the appearance of a perfectly innocent young women, who manages to get what she wants, with the help of Sheila (Goddard), without the duped boyfriend ever really knowing what’s going on. It takes skill to play the affable boyfriend Greg (Antony Eden), in love, bumbling along, creating havoc in his wake, yet still coming out none the wiser! He got his just desserts in the end, as did they all. Philip (Pacey) finished as the deflated, exhausted husband, no longer getting his extra slice of pie! Sheila (Goddard) shrewdly maintaining the status quo, just how she likes it.

The two settings are clever, properly giving the impression of a bedroom in a small London flat and the patio outside a large country house. They both create the right atmosphere and sense of proportion. They are also timeless, making the piece relevant to any generation.

If you are a fan of Alan Ackybourn or new to his work, this quintessentially English play is a great example and will not disappoint.

Blackpool Winter Gardens – until Saturday 25 February 2023

Reviewed by Debra Skelton

5*****

Rock of Ages is a modern day musical theatre phenomenon; it ran for a record breaking 2328 performances on Broadway, has toured in more than 30 countries and spawned a 2012 movie.

It is now back in the UK and has arrived at Blackpool Winter Gardens to guarantee to rock you in, and out of your seats.

Packed full of iconic rock songs, this is the musical equivalent to time travelling for anyone who was around in the 80’s (or anyone younger who just loves great rock anthems). The story is a classic Boy Meets Girl, Falls in Love, Boy Loses Girl, Boy has an epiphany and wins her back. Running in the background is the threat of big business developing the Sunset Strip and demolishing the iconic bars and music venues. What sets this one aside from so many other pop musicals is its total abandonment of the expected norm – Rock of Ages may be serious about the music, but it certainly doesn’t take itself serious at all.

The cast clearly enjoyed the show as much as the audience, none more so than Sam Turrell (Drew) and Gabriella Williams (Sherrie), the story’s love struck leads who brilliantly toy with the perils of LA stardom and sleaze. Both find themselves at the Bourbon Room, a rock club on the Sunset Strip ran by Dennis Dupree (Corrie’s Kevin Kennedy); Drew bussing tables and writing music, Sherrie as a wide eyed innocent looking to become an actress and both of them end up betraying their dreams for a dose of LA reality.

Guiding the audience through the story is the narrator and Dupree’s assistant Lonny, played by the mercurial Tim Oxbrow who gives Lonny all the sexual tension of Russell Brand crossed with the over the top flamboyance of Tim Curry (from The Rocky Horror Picture Show).

There are also standout performances by Natalie Winsor as Justice (showing her prowess as a powerful soul singer) and Cameron Sharp as the aging rock god Stacee Jaxx.

The paylist should be filed under ‘definition of jukebox musical’; it feels like the writer, Chris D’Arienzo, wanted to make a mix tape of his favourite 80’s songs and then make up a story to tell by using them. Every tune sits as a chapter heading to progress the story; there is little subtlety in which tune fits where but that is fine, we’re not here for highbrow, deep thinking culture, we’re here for Rock and Roll.

Backed by a brilliant ensemble, some rather risqué costumes and a rocking live band, this is not so much a love letter to rock as it is a wild Friday night of abandonment and worry about the consequences later. So, if you like comedy, if you enjoy live music and if you love 80’s rock then this is the perfect way to spend an evening.

WEBSITE | FACEBOOK | INSTAGRAM | TWITTER

MOUSETRAP THEATRE PROJECTS ENTERS A NEW ERA WITH A BRAND-NEW NAME

GO LIVE THEATRE PROJECTS CONTINUES THE LEGACY OF THE MUCH-LOVED LONDON-BASED THEATRE EDUCATION CHARITY

Susan Whiddington CBE, Chief Executive, Mousetrap Theatre Projects is pleased to announce its new name, Go Live Theatre Projects.

Based in the heart of London’s West End, Mousetrap Theatre Projects has been a staple of the theatrical community since it was founded in 1997.  This vital theatre education charity has spent the last twenty-five years dedicated to enriching the lives of young people through theatre. 

Today, Tuesday, 21st February 2023 at the Delfont Room in the Prince of Wales Theatre, Mousetrap Patron and actor of stage and screen, Hugh Bonneville, revealed that Mousetrap Theatre Projects would be entering a new chapter under the name of Go Live Theatre Projects. 

Go Live Theatre Projects will continue its mission to use the power of theatre to create inspiring experiences and unlock possibilities for young people across London.

Susan Whiddington CBE, Chief Executive, Mousetrap Theatre Projects now Go Live Theatre Projects said: “I am extremely proud of all that our charity has achieved in the last 25 years for disadvantaged young people, those  with additional needs and low-income families, working hand in hand with the theatre industry.  Over this time, we’ve touched the lives of nearly 250,000 children and young people.  As we look to the future, we are staying true to our mission to use the power of theatre to create inspiring experiences and unlock possibilities for young people. Our name change to Go Live Theatre Projects reflects the important thread that runs through all of our work with schools, families and youth groups – offering young people and families the special opportunity to attend ‘live’ theatre performances.”

Its new chair, Charles Prideaux, will lead the charity into the future under its new name, Go Live Theatre Projects.

Prideaux, currently the Group Head of Strategy and Solutions at Schroders, graduated from Cambridge University with a BA in English Literature and theatrical experience, including a Marlowe Society production of Cyrano de Bergerac and successful Edinburgh Fringe productions such as Shakespeare for Breakfast. Since then, Charles Prideaux has combined a career in investment management with continued support for the theatre.

New Chairman, Charles Prideaux, Go Live Theatre Projects, said: “I am excited to be the incoming chair of this vibrant charity that has been running for over 25 years.  I have huge admiration and respect for its work, particularly for helping some of London’s most marginalised young people to develop positive skills through theatre making and performance.  I very much look forward to taking the helm of this pioneering charity as it enters a new chapter with our new name.  Go Live encapsulates one of our core strengths, which is enabling young people to experience the magic of live performances.”

Go Live Theatre Projects believes that all young people should have the opportunity to enjoy, learn and benefit from seeing and participating in theatre, irrespective of their cultural, social, or economic background.

West End star Georgina Onuorah, soon to appear in Oklahoma! as Ado Annie, discovered her love of theatre when she and her family participated in the charity’s ground-breaking family theatregoing scheme, Family First Nights.  She joins a host of new Ambassadors who will work alongside the charity’s longstanding Patrons. 

Other new Ambassadors include Joe Foster, Victoria Hamilton-Barritt, Philip Joel, Lucie Jones, Hannah Lowther, Rob Madge, Joel Montague, Willy Mukendi and Shaun Tossell.

Georgina Onuorah said “Mousetrap helped provide me with some of my earliest experiences of live theatre. To now be asked to be an Ambassador for them is genuinely an honour.”

Mayflower Theatre, Southampton – until Saturday 25th February 2023

Reviewed by Emma Barnes

4****

Baz Luhrmann´s Strictly Ballroom The Musical waltzed into Southampton last night. Based on the Australian cult classic 1990’s movie, the musical is Directed and Co Choreographed by Strictly Come Dancing’s Craig Revel Horwood.  

The story follows rebellious ballroom dancer Scott Hastings (ex Strictly Come Dancing’s Kevin Clifton) who’s dance steps do not conform with the Australian Dance Federation rules.  He partners with novice flamenco dancer Fran (Poppy Blackledge) in a Romeo and Juliet-esque tale of a meeting of minds and then hearts of two people from different walks of life. 

Their journey gives an interesting insight into the world of professional competitive dancing, which includes all of the glitz and glamor that you would expect combined with the backstage politics, issues and challenges that are hidden behind the ‘happy face’. 

Poppy Blackledge put on a brilliant performance as Fran as understudy for Maisie Smith. Poppy acted, danced and sung to perfection, really bringing the character to life to the point that had we not known in advance that she was an understudy we certainly wouldn’t have guessed. 

Obviously in a show like this the dancing was nothing short of masterful. The costumes were also spectacular and the vocals didn’t disappoint.  For us,  the highlight of the show was the Paso Doble which came almost by surprise and was performed by Jose Agudo (Rico) with breathtaking sharpness and drama.    The set was a creative masterpiece,  with magnificent ostrich feathers encircling the cast offset by ingenious pieces of scenery dropping down seamlessly and a glitter ball taking centre stage for the duration.  The set did a great job to mirror scenes from the movie, particularly the rooftop scenes.

Strictly Ballroom is a feel good love story about taking a leap of faith.  Throw in a bedazzling mix of costume, dance, comedy and a few well known songs and it’s a recipe for a great show.  We thoroughly recommend it.