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Charing Cross Theatre – until 30 December 2022

Reviewed by Antonia Hebbert

4****

If you want an antidote to Christmas jollity, this one-hour, one-singer opera might be just the thing. A woman, Elle, talks on the phone to her ex-lover. There are crossed lines, wrong numbers and bad connections. At first she tells him she’s fine, and has taken a sleeping pill to help her rest. Later she says that was a lie, and that she has attempted suicide by overdosing on sleeping pills. She keeps saying it’s all her fault, and that she’s the one to blame. (We can sense that this is just the hopelessness of love and that he’s probably a complete b*****d.) She gets cut off, and tries to call him, but there’s no reply. He rings back, and she begins to suspect that he’s with his new lover. She confesses to being obsessed with the telephone, which she has been taking to bed at night. Behind her, images of a giant telephone cord winding ominously around, as she talks of wrapping the cord around her neck and tells him she loves him.

Natalia Lemercier is the soprano who sings this emotional glumathon, with musical director Elspeth Wilkes on the piano – they work beautifully together. Francois Poulenc wrote the original La Voix Humaine (1958) for a soprano with orchestra, but there’s an intimate intensity to voice and piano which seems right in this small theatre (the auditorium is quite grubby, and that seems appropriate too). The voice part is written to reflect speech patterns and the jumpiness of a bad telephone connection, and just occasionally soars. Lemercier sings it very sweetly and affectingly, while lighting cigarettes, stubbing them out and gulping whisky as she takes us down her private well of misery. She is briefly joined by Kelvin Giles on the clarinet – is he the man appearing for a moment? I confess I didn’t understand this, but it made an effective, eerie change of mood.

The set consists of a sofa, table for whisky, cigarettes and ashtray, and the piano. The original opera ends with Elle wrapping the cord round her neck and sliding to the floor. This version begins with Elle on the floor and her double on the sofa – one of them rises and becomes the piano player, which reinforces the claustrophobic, down-a-well mood of the piece. The opera is based on Jean Cocteau’s play La Voix Humaine (1928), which is an exploration of pushing drama to minimalist limit. This isn’t meltingly beautiful opera, but it is intriguing. The director is Alejandro Bonatto.

Forum Theatre, Malvern – until 30th December 2023

Reviewed by Courie Amado Juneau

5*****

Malvern Theatres Stage Company brings us that perennial festive favourite A Christmas Carol in a superb adaptation by Nic Lloyd (also Director) who instantly thrusts us deep into unexpected territory – emblematic of a special evening ahead. To see something so new and fresh in such a familiar work of art was a revelation.

I won’t spoil the surprise regarding what this opening scene is but it is a breathtaking prologue involving Jacob Marley (Henry Pyne) and a Spirit (Rhys Harris-Clarke, who deliciously plays several roles). I enjoyed both actors when I saw them in this company’s previous production of The Importance of Being Earnest. Tonight gave them the chance to display their dramatic prowess with some lush dialogue bordering on the Shakespearean in it’s commanding breadth and spleandour!

Soon enough we were introduced to the other actors in the ensemble, which brought to mind ancient Greek Theatre with a chorus playing multiple roles around a narrator and a central character.

The entire cast was wonderful, thrilling us with magnificent performances. Toby Burchell treated us to a Scrooge that was suitably mean and clinical but thawed out nicely making this a thoroughly believable performance. Daniel Davis gave us a charming Fred (Scrooge’s nephew) as well as several other characters that were equally enjoyable.

The Cratchit family were well represented by Ben Mowbray (as Bob) and Emily Henry (as his wife) – including a fantastically acted extra added scene, giving us a very different slant on the work. Thought provoking! Howard Haines, playing the small but crucial role of Tiny Tim was, as expected, heartwarming.

Finally, multiple roles were taken up by Elizabeth Anne Jones whose live on stage guitar accompaniment I particularly appreciated and Summer Reade who particularly shone as Fan (Scrooge’s sister) in a touching portrayal.

Moa Myerson, also playing multiple roles, stood out in what was a stunning performance. Quite simply she is a major talent. Her acting was flawless, her characterization was warm and she had a range that was a joy to behold. And her singing voice is gorgeous too!

Speaking of which, I loved the use of Christmas Carols (sung live on stage by the cast) to heighten the stage action, for instance using “In The Bleak Midwinter” in the graveyard scene. “Silent Night”’s inclusion at a key scene touched my heart too. These musical interludes also served to move us between scenes (i.e. between Scrooge’s childhood and young adulthood) and between characters (i.e. one ghost to the next). Wonderful.

And that’s not even mentioning the lavish costumes, the inventive minimalist set, the lighting and the sound effects which all contributed to a highly accomplished production that does all involved enormous credit.

Another triumph from this young company of young performers showing us that both tonight’s cast and the company has a bright future. Rush to buy tickets for this production while you can, before they undoubtedly sell out. Top notch entertainment I cannot recommend highly enough. It’s enough to make you want to move to Malvern and attend every performance!

Leeds Grand Theatre – until 7 January 2023

Reviewed by Sal E Richmond

5*****

The whole production of David Nixon’s The Nutcracker over flowed with pure unfettered joy at the Leeds Grand Theatre last night.  It was the most beautiful and mesmerising piece of performing art that I have personally seen in a longtime.  Every step, note and jewelled coloured sparkle created a sensory festive feast that was simply magical.  Without question, the ballet was world-class, in fact out-of-this-world-class being layered with spell-binding beauty, slick comedy, mystery and a continuous effervescent energy that kept one captivated during every second of this magnificent performance.  

During a spectacular Christmas party hosted by the Edwards family and where the dancing was performed with pin-sharp choreography by cast members of all ages, the young Clara (Rachael Gillespie) is gifted a Nutcracker by her mysterious uncle Herr Drosselmeyer (the extremely talented Gavin McCraig). That night, Clara is unable to sleep and when she goes downstairs where she enters into another realm and The Nutcracker (now alive) enters into a battle led by the terrifying (and amusing) Mouse King (Bruno Serraclara). As the battle between armies of tin soldiers and mice unfolds much skill is used to portray humour and excitement.  Finally, after being vanquished by The Nutcracker, the Mouse King is no longer and his slayer turns into a  handsome young prince (Harris Beattie).  

In Act II, Clara and the prince have been transported by Drosselmeyer to ‘A garden of delights’ where we are greeted by a whole host of alluring characters from far off lands, stories and ethereal worlds.  The costumes and set were exquisite and each and every dance sequence awe-inspiring.  I felt like all my Christmases from years gone by as a child and ones I’d secretly imagined had all come together at once on that stage!  I think like me, every audience member had their heart stocking-filled with jubilation and joy!  

We were all entranced by the life-sized puppet dolls (Sena Kitano, Archie Sherman and Antoni Canellas Artigues), captivated by Arabian performers (Dominique Larose, Harry Skoupas and Andrew Tomlinson) and dazzled by the athleticism and seamless moves of the Russian (Albert Gonzalez Orts, Jun Ishii and Matthew Topliss), Chinese (Antoni Canellas Artigues and George Liang), French (Sena Kitana, Kirica Takahashi and Archie Sherman) and Spanish (Kevin Poeung) dancers.  They were breathtaking!  Alongside the perfectly-timed harlequinade style catalogue of characters were – in total contrast – the delicate and gossamer gowned Snowflakes (Helen Bogatch, Gemma Coutts, Katherine Lee, Heather Lehan, Harriet Marden, Aerys Merrill, Alessia Petrosino and Kirica Takahashi) and gorgeously glowing and twinkling Flowers ( Helen Bogatch, Katherine Lee, Heather Lehan, Alessandra Bramante, Aerys Merrill, Kaho Masumoto, Julie Nunes and Aurora Mostacci).  In my wildest dreams, I would love to be one of those radiant and stunning dancers – every arm bend, leg raise, twirl and step had grace, precision and wonder.  Standout moments were aplenty in this Northern Ballet production where to be honest every moment could have been pointed out as being ‘standout’ but the dance of the Sugar Plum Fairy (Saeka Shirai) and her Cavalier (Jonathan Hanks) left one lost for words with their phenomenal performances.  It was something I – and I’m sure the rest of the audience –  won’t ever forget as perfection oscillated before our very eyes with a rapturous applause by the whole theatre to follow.  The other couple who danced in perfect harmony were Clara and the Prince.  These two put the innocence back into young romance, which was heart-warming, moving and emotional .  Harris Beattie showed such strength and skill for such a young dancer and he also had the perfect characteristics of a handsome young prince in how he looked at and bestowed respect and love for the adorable Clara.  Rachael Gillespie also epitomised the character of a young girl meeting her first love by displaying grace and purity in her every move, look and gesture.  

Northern Ballet Sinfonia Conductor, Jonathan Lo and Northern Ballet Sinfonia Leader, Gordan Bragg must be given kudos of the highest acclaim for bringing Tchaikovsky’s enchanting score, The Nutcracker, alive for us and needless to say it was utterly brilliant.  Charles Cusick Smith’s set design with lighting by Mark Jonathan and costume design assistant Christopher Dudgeon, like Uncle Drosselmeyer, had obviously weaved their magic too in producing work to the highest standard with their talented teams to make this whole production the most wonderful Christmas ballet I think Leeds will have ever seen.  

As the classic pop tune goes, “I wish it could be Christmas everyday” – I think I would like to change that to “I wish I could see The Nutcracker every year!” because it’s brought Christmas back for me, in my heart.  If you’re tired of a Christmas that’s filled with excessive stuff, neon flashing lights and inflatable snowmen and want to experience beauty, magic, innocence and joy then I guarantee that the Northern Ballet’s The Nutcracker will deliver this for you – it’s perfect!  

THE LOWRY, SALFORD – UNTIL SUNDAY 8TH JANUARY 2023

REVIEWED BY MIA BOWEN

5*****

From the imagination of Neil Gaiman, best-selling author of Coraline, Good Omens and The Sandman, comes the dark fantasy novel, The Ocean At The End Of The Lane. It was voted 2013 Book of the Year, amongst other honours, in the British National Book Awards. Joel Horwood’s new stage adaptation recreated the dreamlike wonderment of Gaiman’s novel. It spectacularly came to life at The Lowry last night and was more than exceptional storytelling, it was an extraordinary piece of theatre, inexplicable and remarkable.

I wasn’t quite sure what to expect as we took our seats but by the end of it, I was blown away by this visually unbelievable production. Katy Rudd and Horwood, cleverly and convincingly brought alive the stuff of childhood imagination, nightmares, the disappointment of adulthood and family trauma. This production superbly captured the experience of Boy’s childhood, not what actually happened but what it felt like.

We meet our unnamed protagonist as an adult at his father’s funeral. He wanders to visit a nearby duck pond he recognises from his youth. Here he meets the mystical Old Mrs Hempstock, who is old enough to remember “when the moon was made”. We are taken with him on a journey into a magical world of adventure, where his survival depends on his ability to reckon with dark forces that threaten to destroy everything around him.

Although the performances were breath-taking, the real stars of the show must be the production team; Fly Davis’s constantly evolving set design, the flowing choreography of Steven Hoggett, the desperate and menacing electric 80’s music by composer Jherek Bischoff that gives a nod to Stranger Things and Paulie Constable’s lighting that makes it possible to go between realms. Jamie Harrison’s magic and illusions and Samuel Wyer’s costumes and puppets makes the audience wonder what is real and what is magic. All the team and cast, as a whole ensures that The Ocean At The End of the Lane is a victorious theatre show and makes the audience gasp in fear and wonder – the magical realism is a pure spectacle.

Festival Theatre Edinburgh – until 22 January 2023

Reviewed by Jo Gordon 

4****

It’s Panto season, a time for Dames to get their wigs out, Villains to dust off the black pleather and families to get together for a few hours of fun ….. what’s not to love! 

I’m pretty new to Scotland but have been enthusiastically informed by many that Allan Stewart (Nurse May), Grant Stott ( Lord Lucifer) and more recently Jordan Young (Muddles) are Edinburgh’s Panto legends, traditionally performing at Kings Theatre, but due to its refurb finding a temporary home at the Festival Theatre. 

This year it is Snow White and the Seven Dwarfs, With Francesca Ross as Snow White, Brian James Leys as Prince Hamish and Liz Ewing doing her best to rid the Queendom of Snow White as Queen Dragonella. 

It’s a very fast paced, colourful extravaganza! Sometimes I felt it was too fast though, and struggled to follow what was going on, as at times, the lengthy skits between Stewart, Stott and Young somewhat overshadowed the Snow White story. On occasion, the adult aimed jokes were slightly the wrong side of the line for a theatre full of youngsters despite meaning to go over their heads. 

However, there were some fabulous larger than life special effects and toe tapping, hand clapping show tunes which more than made up for that. The traditional, funny, panto mayhem is just what we all need in the current climate to lift the spirits and I certainly left the theatre full of seasonal cheer. 

Middle Temple Hall, London – until 29 December 2022

Reviewed by Antonia Hebbert

4****

Charles Dickens wrote A Christmas Carol in 1843 while studying law at Middle Temple. So how fantastic to see it performed today in Middle Temple Hall, still at the heart of London’s lawyer-land. You reach it along an ancient cobbled lane, and it’s quite a space, dating back to 1573, with a mighty hammerbeam roof, elaborately carved doors and panelled walls. It also happens to be where Shakespeare’s Twelfth Night was first performed. This is the sixth year that Antic Disposition has put on A Christmas Carol here, and besides doing the show they’ve established a tradition of mince pies and mulled wine in the interval (served at ‘Bar Humbug’, naturally).

It’s worth going just to get a look at the hall (not normally open to the public), but this production would work anywhere. It stays close to the original text and is set firmly in early Victorian England, with an energetic little band to bump up the atmosphere. The actors break into song, carols and sometimes dance, which Dickens would surely have approved of. There are spooky ghosts, Victorian costumes and an adorable Tiny Tim (Dylan Hall on the day we were there, sometimes Ayrton English). Jack Heydon, as Scrooge’s nephew Fred, also plays the trumpet; Emma Fenney as Mrs Cratchit doubles up on the flute. Richard Dempsey is the put-upon Bob Cratchit; Scrooge is played by David Burt, who transforms nicely from wicked grump to golden-hearted softie, as he is led on a haunted night journey through past, present and future by the three ghosts.

The performance space is at floor level, with the audience on banked seating on three sides. If you’re in the front row it’s practically an immersive experience. If you’re further back, some of the words may get lost in the airy heights of the hall, but this old chestnut of a story carries you along anyway, and sends you out into the atmospheric surroundings of Middle Temple with a Christmassy spring in your step. Ben Horslen and John Riseboro are the directors; Nick Barstow is the composer and musical director.

Antic Disposition specialises in putting on productions in interesting, non-theatre spaces, and does a rather pleasant-sounding summer tour in France: see www.anticdisposition.co.uk.

RETURNING TO THE WEST END

FOR A STRICTLY LIMITED SEASON

AT THE AMBASSADORS THEATRE
FROM 25 JANUARY 2023

Celebrating the joy and chaos of raising a queer child, My Son’s a Queer, (But what can you do?), over the past two years, has debuted to a critically acclaimed and sold out season at the Turbine Theatre, followed by another sell out run at the 2022 Edinburgh Festival Fringe, and, to the delight of fans, transferred to the Garrick Theatre in October and November this year.

My Son’s a Queer, (But what can you do?) will transfer to the Ambassadors Theatre, in London’s West End from 25 January 2023.

When Rob was 12, they attempted to stage a full-blown Disney parade in their house for their grandma. As Rob donned a wig and played Mary Poppins, Ariel, Mickey Mouse and Belle, their dad doubled as Stage Manager, Sound Technician and Goofy.

Unfortunately, Dad missed all his cues and pushed all the floats in the wrong direction. Mum mistook Aladdin for Ursula. The costumes went awry. Ariel’s bubble gun didn’t even work properly. Grandma had a nice time though. 

Winner of the ‘WhatsOnStage Best Off-West End Production 2022’ Award, My Son’s a Queer, (But what can you do?) is the joyous autobiographical story of social-media sensation Rob Madge as they set out to recreate that infamous parade – and this time, nobody, no, nobody is gonna rain on it!

Rob Madge said, “I am so very excited to be bringing My Son’s a Queer back to the West End, this time at The Ambassadors Theatre. Putting on a show about when I used to put on shows in my living room continues to be the most surreal, magical thing and I can’t wait to share my brilliant, hilarious family and our story (which I hope is a relatable one) with more audiences. I hope that people leave My Son’s a Queer feeling brighter and uplifted with the knowledge that anything is possible when the stage is your living room!”

My Son’s a Queer, (But what can you do?) is written and performed by Rob Madge (Oliver!, Les Misérables), directed by Luke Sheppard (& Juliet, In the Heights) with songs by Pippa Cleary (The Great British Bake Off Musical, The Secret Diary of Adrian Mole Age 13 ¾). It has set and costume design by Ryan Dawson Laight, video design by George Reeve, lighting design by Jai Morjaria, sound design by Tingying Dong, and orchestrations by Simon Nathan. The show is produced by Bill Kenwright and Paul Taylor-Mills

PAUL WHITEHOUSE IS BACK

AS GRANDAD FROM 9 JANUARY 2023,

AS THEATRE ROYAL HAYMARKET RUN

IS EXTENDED UNTIL 29 APRIL

TICKETS ON SALE FROM

ONLYFOOLSMUSICAL.COM

Bonnet Du Douche! Comedy giant Paul Whitehouse will return to the cast of the smash hit West End show Only Fools and Horses The Musical next year, starring once again as the lovable Grandad from 9 January. The critically acclaimed musical is also extending its run at London’s Theatre Royal Haymarket for a further three months until 29 April. Tickets are on-sale now at OnlyFoolsMusical.com.

Based on John Sullivan’s iconic and record-breaking television show – and featuring cherished material from the TV series – this home-grown West End musical spectacular is written by John’s son, Jim Sullivan, and Paul Whitehouse. The musical reacquaints fans with Britain’s most lovable rogues, to experience the classic comedy brought to life through 20 ingenious and hilarious songs.

Paul Whitehouse said: “I can’t wait to be back in Grandad’s armchair next year after a bit of a break – many thanks to Les Dennis who’s been keeping it warm for me! It’s incredible to still be playing to packed houses week in, week out and I’m thrilled that the show is extending the run yet again. Mange tout!”

Directed by Caroline Jay Ranger, the show has been seen by over 700,000 people since it opened in the West End to an array of fantastic reviews from critics and fans alike in February 2019. The Sun awarded five stars, hailing it “One Del of a show!”; the Daily Mirror said it was “a treat for Trotter fans” in their five-star review; The Sunday Times bestowed four stars and remarked that “Only Fools is a blast from our wide-boy past. A hearty stage adaptation of the 1980s BBC television comedy”. Evening Standard also awarded four stars, complimenting the “unashamedly British night out. A jubilant lovely jubbly!” While the Daily Mail urged its readers to “raise a glass of Tittinger to Del Boy and Rodney as Only Fools and Horses storms the West End!”

Starring alongside Paul Whitehouse in this hilarious show are Tom Bennett (Del Boy) and Ryan Hutton (Rodney). The cast also features many of the hugely popular TV characters: Ashleigh Gray plays Raquel; Nicola Munns plays Marlene and Cassandra; Craig Berry plays Boycie; Lee VG plays Trigger; Adrian Irvine plays Denzil; Danny Bayne plays Mickey Pearce and Danny Driscoll; Andrew Bryant plays Mike The Barman and Tony Driscoll. Completing the Company are Christopher Arkeston, Marion Campbell, Wesley Charles, Leanne Garretty, Ian Gareth Jones, Chris Kiely (also Resident Director), Danny Lane, Andy Mace, Melanie Marshall, Gemma Maclean, Darryl Paul and Mark Pearce.

So join the Trotter family as they take a trip back to 1989, where it’s all kicking off in Peckham. With musical contributions from Chas n Dave, the beloved theme tune as you’ve never heard it before and an array of brand-new songs full of character and cockney charm, you’re guaranteed to have a right knees-up! Only Fools and Horses The Musical is a feel-good family celebration of traditional working class London life and the aspirations we all share.

Only Fools and Horses The Musical is a truly cushty night out. Only a 42 carat PLONKER would miss it!

★ ★ ★ ★ ★

“One Del of a Show!”

The Sun

★ ★ ★ ★ ★

“Viva, Hooky Street. C’est Magnifique! A treat for Trotter fans”

Daily Mirror

★ ★ ★ ★

“Call it comfort food for our troubled times, this show serves up some lovely jubbly”

Metro

★ ★ ★ ★

“Only Fools is a blast from our wide-boy past.

A hearty stage adaptation of the 1980’s BBC Television comedy”

Sunday Times

LISTINGS INFORMATION

Theatre Royal Haymarket

Box Office: 020 7930 8800 Performances: Monday – Saturday at 7:30pm. Wednesday and Saturday matinee at 2:30pm Website: OnlyFoolsMusical.com Twitter: @OFAHMusical

The award-winning live and digital theatre producer  

Original Theatre celebrates a year of growth in 2022 

Original Theatre has released its 2022 Annual Review video detailing the facts and figures behind a successful year for the touring and online digital theatre production company, in spite of the continuing challenges being faced by the arts sector (watch the two-minute film: https://youtu.be/yteerkuZIFo). 

Founded in 2004 by Artistic Director Alastair Whatley and now working with Creative Producer Tom Hackney, Original Theatre operates without external funding, relying solely on sales revenue. 

In 2022, Original Theatre produced eight live theatre productions (The Hound of the Baskervilles, Agatha Christie’s The Mirror Crack’d, The End of the Night, The Fall, Miles, Tikkun Olam, Stumped, Being Mr Wickham), playing to 80,000+ audience members across 29 UK theatre venues, and as far afield as the stormy Atlantic Ocean, on board Cunard’s Queen Mary 2. 

Original Theatre’s digital production arm, Original Theatre Online, was set up in 2020 when theatres went ‘dark’ during the pandemic and it has continued to thrive as an alternative medium for audiences to access high-quality theatre. The company’s online efforts were recognised in 2022 with a Critics’ Circle Theatre Award commending ‘Exceptional Theatre-Making During Lockdown’, a ONEOFF Award from The Offies, a Broadway World Award nomination and numerous international film festival accolades. Over the past year, Original Theatre has recorded and produced nine online productions (Stumped, The Hound of the Baskervilles, The Red, The Fall, Tikkun Olam, Miles, Being Mr Wickham, The End of the Night, Into The Night). Online productions have now been streamed to 60 countries. 

In 2022, Original Theatre’s online support grew to 30,000+ subscribers to Original Online, 43,000+ registered website users and over 30,000+ social media followers.  

Artistic Director Alastair Whatley said: “2022 has, like its predecessors, been memorable. It began with us battling to open our production of The Hound of the Baskervilles in Bath despite 2 of the 3 actors (and the director) being off with Covid and it has continued surfing the waves of post-pandemic life with all the ups and downs one might expect along the way.  

“Yet, through it all, I look back hugely proud of the work created from world premieres of new plays like The End of The Night by Ben Brown with Park Theatre to a unique partnership with Lord’s Cricket Ground for Shomit Dutta’s new play Stumped, some awards of our own thanks to The Critics’ Circle and The Offies and – capping it all – a record-breaking regional tour of Rachel Wagstaff’s beautiful adaptation of Agatha Christie’s The Mirror Crack’d which has presented us with our highest audience figures and largest box office revenue yet. 

“A particular personal highlight was the launch of a brand new writing competition, Originals, which saw over 300 new plays submitted and subsequently three winners seeing their work performed with fabulous casts and creative teams at Riverside Studios and streamed live all over the world. 

“I’d like to thank everyone who has supported Original Theatre this year, from our audiences to Original’s own team and the 200 freelancers with whom we have worked to bring our productions to life. 

“Original Theatre has another packed year planned for 2023 starting with The Time Machine, a fast-paced and wise-cracking retelling of the world-famous novel by H.G. Wells, written by Steven Canny and John Nicholson. The production, directed by Orla O’Loughlin, will open at New Wolsey Theatre with a run from 23 February – 4 March, followed by a national tour.  

“A separate tour of our current production The Mirror Crack’d starring Susie Blake, Joe McFadden and Sophie Ward, continues to entertain audiences throughout the Spring. 

“We are also continuing to innovate in the digital realm as we turn our focus to launching the world’s first digital theatre in the new year (details to be announced in early 2023) as well as developing our school partnerships work, creating a unique shared, communal space for audiences all over the world. 

“It is during difficult times that theatre and the arts become ever more important, offering new perspectives, escapism and some much-needed hope. Original Theatre plans to continue offering all of the above in 2023. See you there.” 

For more information, visit Original Theatre: https://originaltheatreonline.com.