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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. 

HARRIET THORPE
TO STAR ALONGSIDE
LAURA MAIN, DIANA VICKERS & LUCY SPEED
IN

2023 UK & IRELAND TOUR
“WITTY, WARM AND UPLIFTING” – THE GUARDIAN
TICKETS ON SALE NOW FROM
STEELMAGNOLIASPLAY.CO.UK

Steel Magnolias, the hilarious and heart-warming play based on a true story, which enjoyed huge global success in the hit 1989 film adaptation starring Dolly Parton and Julia Roberts, is embarking on an extensive UK and Ireland tour in 2023.

Harriet Thorpe (best known for her role as Carole Parkinson in The Brittas Empire and Fleur in Absolutely Fabulous) will join the star-studded ensemble cast, alongside Laura Main (best known as Shelagh Turner in BBC One’s Call the Midwife), Diana Vickers (The X Factor star who has gone on to lead roles in many theatre productions including Dial M For Murder and The Rise and Fall of Little Voice) and Lucy Speed (known for her television roles on EastEnders and The Bill, and as a new cast member on BBC Radio 4’s The Archers). Completing the cast are Caroline Harker (A Touch of Frost) and Elizabeth Ayodele (Playboy of the West Indies).

The show, directed by Anthony Banks (Mrs Warren’s Profession, Tour, Girl on the Train, West End, Dial M for Murder, National tour), will begin its tour on 19 January at Bromley’s Churchill Theatre, travelling to over 20 venues and conclude on 22 July at the Royal & Derngate Theatre, Northampton.

Steel Magnolias, which was first performed off-Broadway in 1987, is the story of six women who come together once a week in a small-town beauty salon in the American South, and prove that female friendship conquers all. Faced with the highs and lows of love and life, and amongst the chaos of work, marriage and children, they unite to gossip, unwind and set the world to rights.

This stage production features an all-female cast who bring this very funny and touching story of friendship and the strength that women derive from one another beautifully to life on stage.

The creative team are; Laura Hopkins (Set Designer), Susan Kulkarni (Costume Designer), Richard Mawbey (Wig Designer), Howard Hudson (Lighting Designer), Ben and Max Ringham (Sound Designer).

This iconic comedy is the perfect ticket for every generation and proves that one hair appointment might just change your life.

‘STEEL MAGNOLIAS’ UK TOUR 2023
19 – 21 January Churchill Theatre, Bromley
24 – 28 January Richmond Theatre
31 January – 4 February Lyceum Theatre, Sheffield
7 – 11 February Yvonne Arnaud, Guildford
14 – 18 February Theatre Royal, Bath
21 – 25 February The Lowry, Salford
28 February – 4 March Theatre Royal, Brighton
7 – 11 March Palace Theatre, Southend
21 – 25 March Alexandra Theatre, Birmingham
28 March – 1 April Wycombe Swan Theatre, High Wycombe
4 – 8 April Curve Theatre, Leicester
11 – 15 April Theatre Royal, Nottingham
18 – 22 April New Theatre, Cardiff
25 – 29 April Everyman Theatre, Cheltenham
2 – 6 May Malvern Theatre
9 – 13 May Northcott Theatre, Exeter
16 – 20 May Milton Keynes Theatre
23 – 27 May Everyman Playhouse, Liverpool
30 May – 3 June Theatre Royal Glasgow
6 – 10 June The Gaiety Theatre, Dublin
13 – 17 June New Theatre, Hull
20 – 24 June Wyvern Theatre, Swindon
4 – 8 July Orchard Theatre, Dartford
11 – 15 July Grand Theatre, Leeds
18 – 22 July Royal & Derngate Theatre, Northampton

Harriet Thorpe, Lucy Speed and Diana Vickers perform until 1 April
Laura Main performs until 22 April

Twitter @MagnoliasPlay
Instagram @steelmagnoliasplay
Facebook Facebook.com/MagnoliasPlay

Apollo Theatre – until 8 January 2023

Reviewed by Elizabeth J Smith 

4****

Christmas is a time of traditions, whether it be the dressing of the tree or eating turkey and other family favourites on Christmas Day. But there is one tradition that is uniquely British and one most other countries don’t understand and that is panto.

Where women dress as men and men dress as women. Where the youngest of children or the oldest of adults can enjoy the double-entendre, slap stick tom foolery, garish costumes and of course the sing along.

Another time old tradition at Christmas is a duo of one straight man and one funny man to play off each others personalities and their physicality’s. Daniel Clarkson, the tall funny one, and Jefferson Turner, shorter serious one, have nailed the telling of some our favourite panto story lines. Getting to the heart of the story through mad cap larking about on stage. They take you from Cinderella to Sleeping Beauty to Aladdin and even A Christmas Carol, to name but a few.

With ingenious use of words, acting skill, puppetry and some dubious costumes the world of panto is explored and explained. How Prince Charming always wins his true love and the baddie always fails usually with a dastardly end.

The pace is fast and furious and hilariously funny.

The scene is simply and the special affects effective. The ride through the enchanted forest on horse back with the wind blowing in your hair, snow flakes falling, added with a soaking of rain and a splattering of horse dung, you have to be there, your reward is catching a sweet thrown from the stage.

With the addition of a fairy, Charlotte Payne, an Edwardian nut roaster, Jacob Jackson and the puppets, the cast is complete for an entrancing performance full of Christmas cheer and fun.

Panto should be silly, fun and full of up to the minute jokes as well as old cliches. Potted Panto has it all and all cleverly packed into 70 minutes.

Its a proper Christmas cracker.

Leicester Square Theatre – until 7 January 2023

Reviewed by Claire Roderick

4****

Sh!t-Faced Showtime’s hilarious version of A Christmas Carol returns to Leicester Square Theatre for another alcohol-fuelled run.

Before each show, one member of the cast drinks as much as they can, and the rest have to cope with the aftermath on stage. Presided over by a sequinned Charles Dickens, who hands out props for audience members to decide when to give the actor another drink, the audience are encouraged to be loud.

Christmas classics from Wham and, of course, Slade are scattered throughout the show, given new lyrics and are weirdly brilliant sung in Victorian costume – a Kate Bush classic also gets a huge cheer. The production goes full adult panto with Mrs Fezziwig’s appearance, and the cast cope brilliantly improvising around drunk Scrooge’s actions and lines. The performance I saw had a drunken Scrooge trying to get his teeth around berating Bob Cratchit for not doing the doodles, planning a trip to Tenerife for Christmas, reminiscing about his time at ninja school with the Ghost of Christmas Past, sharing his love for the actor playing the Ghost of Christmas Present going full Brian Blessed, moving in with Mrs Cratchit and repeatedly being rescued by Charles Dickens as his ninja rolls nearly had him landing on the laps of the first row. Scrooge’s running commentary and stage directions and a (thoroughly deserved) appreciation thread about the cast’s ability to make call-backs to his ridiculous earlier contributions get more frequent as more drink is taken. Press night’s ending was definitely not as Dickens wrote it!

Rude, silly and fantastically unpredictable, A Pissedmas Carol remains a great night out with friends – spirited Christmas entertainment that never fails to cheer.

Upstairs at the Gatehouse, Highgate – until 15 January 2023

Reviewed by Phil and Viv Brown

5*****

Surely few theatre lovers can resist a 60s musical, especially one as polished and entertaining as this. And is there a better way of escaping a winter of discontent than with a blast of 60s high energy optimism?  Set in Swinging London at the height of the beat boom, the story charts the hopes and dreams of 5 eager young adults looking for a break at the Four Eyes Coffee Bar in Carnaby Street (a humorous nod to the original 2i’s coffee bar that played such a formative role in the birth of British pop).  

The Four Eyes is the hub of the action and is run by Hetty (well played by Helen Goldwyn) with the help of Sam Wilmott (Connor Arnold), a go-getter recently discharged from the US Air Force.   Hetty is an ex showbiz pro and falls into the role of matriarch, facilitator and confidante to the main characters who are slickly introduced in the opening scene.  Joanna (Eliza Shea) is a cub reporter for the Evening Standard and sings with the Four Eyes house band on the side.  Scouse wannabe photographer Bobby (Harry Curley) is looking for the action but a parking violation leads instead to traffic warden with a heart of gold Vera (Elizabeth Walker).  Hopeful fashion designer Cassie (Candis Butler Jones) then becomes Bobby’s target for his “you could be a model” spiel.  With Cassie’s need for college funds and Sam’s persistence, the three girls form a girl group – The Vixens – under Sam’s management, whilst Bobby takes care of publicity.  The stage is set for future stardom.

Aside from the obvious nostalgia appeal, there is so much to love and admire about this fondly crafted Ovation production.  The attention to period detail is exquisite.  The design and direction (John Plews) is masterful. The overall music supervision is immaculate (Kevin Oliver Jones & Curtis Lavender), and the small Four Eyes band is superb throughout.  It’s all expertly threaded together with a  beautifully written story (Jennifer Selway) that weaves in plenty of humour about the period and also the future, (“If only we had phones that we could carry around”), along with the smoothest of segués to the musical numbers, selected (pleasingly) from some of the more overlooked troves of 60s treasure.  Lead singer duties are shared pretty evenly across all six members of the ensemble and each grabs the opportunity to shine in the spotlight, showcasing a wonderful array of individual talent.   Connor Arnold as Sam also impressed as a multi-instrumentalist, moving from double bass to trumpet to guitar.  Together, this seriously talented cast pulled off a block-buster of a performance.  

Amongst the stand-out moments were the full-on dance routines in each half, Joanna’s hard rocking “Shoot Shoop Song“, Bobby’s tender “Ferry ‘cross the Mersey”,  Cassie’s powerful  rendition of “First Cut is the Deepest”,  Sam’s soulful “SOS Stop Her on Sight”, and Vera’s poptastic “Lost in London”  – the production’s one original song that is not at all out of place amongst the 60s hits. 

Sadly, this is the last Ovation production at The Gatehouse.  This hugely enjoyable show embodies what it means to go out with a bang.

Park Theatre – until 14 January 2023

Reviewed by Claire Roderick

4****

It’s not just Scrooge getting his redemption story this Christmas, with grumpy goblin Rumpelstiltskin taking centre stage at Park Theatre. Charles Court Opera’s pantomimes are always a boutique treat, and Rumpelstiltskin doesn’t disappoint.

With a whirlwind retelling of the entire Grimm fairy tale in the opening number, John Savournin takes the audience on a trip through fairy tale land as Rumpelstiltskin’s discontent at everyone now knowing his name attracts the attention of the mysterious Dreamcatcher. Determined that nobody should get their wishes granted without payment, Rumpelstiltskin wishes that everybody would forget his name. The evil Dreamcatcher gives him exactly what he wants, meaning that his name is lost, even to him. Rumpelstiltskin meets Daisy the cow and soon a quest begins as they search for the lost characters that the Dreamcatcher has imprisoned, with Rumpelstiltskin learning about friendship and generosity along the way.

Director and writer John Savournin injects the perfect mix of humour needed for a panto, with the more mature jokes accompanied by silly sound effects to keep the younger audience engaged. There is, of course, audience participation with a rat based challenge from Larry the no.10 cat and some dreadful puns. With the quest taking Rumpelstiltskin through enchanted caves, a magic carpet ride and a visit to London, the scenes are set using furniture and props from the intricate bookshop/library set, packed with drawers and secret doors for characters to pop in and out of, and the perfect backdrop for demonstrating the magic of books and storytelling. David Eaton’s original songs are fantastic, with a range of influences and serving the plot brilliantly.

Philip Lee is a hoot as the goblin, full of eccentric energy and Emily Cairns is cartoonishly evil as the Dreamcatcher. Lucy Whitney excels in various roles, and Tamoy Phipps almost steals the show as Daisy the cow with her boundless energy and ability to milk every emotion. The vocals are fantastic, and the pace of the show is well-judged, with Rumpelstiltskin’s realisation that with kindness he can make his own story a wonderful message for young and old.

A cracker of a show for all the family.

@sohoplace – until 28 January 2023

Reviewed by Claire Roderick

4****

Josie Rourke’s gorgeous production of As You Like It exudes warmth and charm with its inclusive cast and performance.

With her father exiled by her uncle, Rosalind’s protection in court is her cousin, Celia. But when Duke Frederick loses patience and exiles Rosalind, Celia leaves as well along with the fool Touchstone. Disguised as a shepherd boy and his sister, they travel to the Forest of Arden, where Rosalind’s father has set up a fairer bucolic society. Also fleeing to Arden is Orlando, ill-treated by his older brother and madly in love with Rosalind. This being Shakespeare, Orlando doesn’t see through Rosalind’s disguise as young Ganymede, and she is soon ‘curing’ him of his love.

Set in the round, with a piano the only permanent fixture on stage, the bare and cold feeling of the court scenes – all swishing skirts and boots clomping on the wooden floor – transform simply into the forest with a fall of leaves from the branches suspended high above the stage and a subtle lighting change, softening the pallet and the atmosphere.

The casting of deaf actors Rose Ayling-Ellis and Gabriella Leon as Celia and Audrey opens up a world of possibilities for a director like Rourke, and the choices add many layers to the story. The surtitles around the auditorium are introduced beautifully as notes appear when pianist and composer Michael Bruce begins playing the piano, before changing to parchment like screens as the dialogue begins. While Leon speaks and signs in the raunchy manner you’d expect from Audrey, Ayling-Ellis does not speak. Her signing is dramatic and emotive, and after a few scenes I forgot about the surtitles and instead just sat back and enjoyed her fantastic performance. The only time she speaks is to her father. The contrast between his attitude and the loving sincerity of Ben Wiggins’s stumbling attempts to sign when they first meet illustrates the fractured relationship and his lack of acceptance of her in a heart-breaking manner.

The impact of Ayling-Ellis’s performance slightly overshadows Leah Harvey and Alfred Enoch’s meeting in court, but also serves to highlight their characters’ growth and throwing off the shackles of court in Arden. Enoch’s Orlando, already dressing like a forest dweller in court, is passionate and funny – his vocal battle with the excellent Tom Mison as Touchstone is a hoot. Leah Harvey’s energy and wit as Rosalind is outstanding. June Watson adds gravitas as Adam and Corin, while Martha Plimpton prowls the stage magnificently as Jacques – portraying the restlessness and search for knowledge in an increasingly disappointing world with the slightest hunch of her shoulders.

Michael Bruce’s piano provides the beating heart of the show, and the songs that can usually be a bore in some productions are a joy. The arrangements and vocals – particularly from Allie Daniel and Plimpton – are delightful and create a dreamlike quality to the play.

As You Like It is a superb production, full of warmth and wit – a welcome treat this winter season

Jack Studio Theatre – until 30 December 2022

Reviewed by Claire Roderick

4****

It is the Christmas truce of 1914, and as the able-bodied soldiers play football, the injured men from both sides are gathered inside an abandoned theatre to listen to a British Medic tell a Christmas story. Ross McGregor’s tender adaptation of A Christmas Carol goes straight for the emotional jugular but doesn’t become overly maudlin as there are wonderful payoffs to come as soldier Jim (Tice Oakfield) compares the soldiers’ inevitable fate with Scrooge’s opportunity for redemption.

Tice Oakfield is sweet and awkward as Jim begins his story, with faltering attempts at German and innocent joy that he has brought a box of magic tricks along. Director Kate Bannister skilfully maintains the conceit that this is an amateur storyteller making the most of what he finds around him in. As he begins his story the practical nature of Karl Swinyard’s atmospheric set is revealed, with doors wheeled across the stage and spun around to portray changes of location. Using a mix of recorded tracks and simply speaking behind a door, Oakfield manages the conversations between various characters seamlessly, but always with a knowing twinkle to remind the audience that this is Jim revelling in telling the story. A swift change of jacket or hat mark the different characters, but Oakfield’s body language and vocal skills sometimes render this unnecessary. Oakfield’s physicality and stamina is astonishing – especially in his performance of a whirlwind rendition of 12 Days of Christmas.

Sleight of hand magic tricks from Jim are matched by technical wizardry with Chomsoonthorn’s lighting complementing Baker’s video design and Julian Starr’s sound design to create the perfect spooky atmosphere for a ghost story. The projections of the ghosts are impressive and the Ghost of Christmas Past’s old school stage magic and Oakfield’s personification of the Ghost of Christmas Present are a welcome addition in this affectionate mashup of theatrical effects.

The added emotional weight of the WW1 setting, being taken out of the story as Jim addresses his audience directly about his wartime experiences, and one last revelation make this adaptation of A Christmas Carol something very special. A barnstorming performance from Tice Oakfield and the magical touch of the Jack Theatre team deliver a heart-warming Christmas treat.

Hull New Theatre – until 31st December 2022

Reviewed by Catherine McWilliams

5*****

Jack And The Beanstalk will deliver everything you could possibly want from a panto, it is an utter joy from start to finish. This production does not rely on gimmicks or major technical wizardry, it harks back to the simpler productions of yesteryear and is all the better for it. Having said that, the simple sets are quite stunning and the 3d effects are fabulous. Jack And The Beanstalk has all the audience participation you could want, cheesy jokes, singing and dancing and will brighten even the coldest of days.

This production has a small cast, but what a hugely talented and tight knit bunch they are, working hard to ensure that the audience has the best night out. In this version of Jack And The Beanstalk, the Giant’s wife Mrs Blunderbore (Chelsea Hall) comes down from Cloudland to find animals for her husband to eat and the Trots are worried that she will take their cow Daisy. Mother Nature (Georgia Iudica-Davies) has found Jack Trot (Gareth Gates) and Princess Jill (Allana Taylor), who she is sure will defeat the Giant.

Neil Hurst’s Silly Simon is an utter delight, he developed an instant rapport with the audience, working us with consummate ease! He is clearly in his element as he bounces around the stage causing chaos and ad-libbing with glee. Full of corny jokes that remain just this side of clean, absolutely perfect. He was the glue that held the whole panto together.

Gareth Gates made an excellent Jack Trot and clearly relished every minute of his role. He has a beautiful singing voice and his rendition of Unchained Melody was a highlight for me.

Jack Land Noble was delightful as Dame Trot, the perfect panto dame. Dame Trot’s costumes were suitably over the top. He had an excellent rapport with the rest of the cast.

Chelsea Hall may be from Hull, but as the baddy of the panto she was booed with great glee by all the audience. She played her part to perfection.

Georgia Iudica-Davies and Allana Taylor played their parts to perfection too, both have beautiful singing voices.

The ensemble was great, playing a variety of roles, the animals and particularly Daisy the cow being real favourites. The band led by Jon Chamberlain provided the perfect musical accompaniment.

Last night there was an additional person on stage – Andy the signer, as this was a signed performance. He was constantly being teased by Silly Simon as he tried to make him sign “rude” words or quickly gave him tongue twisters. Andy was wonderful to watch, BSL is a very expressive language and he threw himself into the whole performance. Absolutely fabulous.

Pantomime should be a joyous experience and this was just that. Do not make the mistake that pantomime is for children, I went with three adult friends and we all had an absolute blast and I left the theatre with my jaws aching as I had laughed so much. This is without a doubt the best panto I have seen. Make every effort to get to see it – it really will make your Christmas.

Everyman Theatre, Cheltenham – until 31st December 2022

Reviewed by Jacqui Radford

4****

Hammerpuzzle Theatre Company have adapted the literary classics written by Flora Thomson to the studio theatre setting.

The story is seen through the eyes of Laura Timmins as she looks back on her life; from her childhood in a rural community to her joy at breaking the mould and pursuing a life more in keeping with the stories in the books she loves. Leaving her family home to work as a postmistress, Laura relishes the opportunities opened up to her by her cousin whose vision is of a world where limits are not set by background or expectation but pushed away by enthusiasm and aspiration.

Performed in the Irving Studio Theatre with a cast of only four people, it is impossible not to feel like each of the characters is talking with you. Each scene is enhanced by sights, sounds, smells and quick changes that draw your eye to all areas of the stage.

Laura’s thirst for adventure and embracing new ideals is brought to life by Katy Sobey, who adds a dash of youthful spirit to the role. Meanwhile, Lizzie Crater seamlessly switches between the roles of two major and opposite influencers in Laura’s life; Emma Timmins (Mother) and Dorcas Lane (Cousin). The rest of the cast (Alex Wilson and Emmanual Olusanya) add further dimension to the character of rural life and love, bringing multiple characters and viewpoints into the mix.

If you are looking for a production that gives you a chance to stop and enjoy a moment of nostalgia or reflection, this definitely fits the bill.