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The Mill at Sonning Theatre, Reading – until 30th December 2022

Reviewed by Amber Mills

5*****

Warmly welcoming me to The Mill at Sonning Theatre was Sally Hughes, (the Managing and Artistic Director). It’s the complete package here at The Mill at Sonning. The experience included a two-course buffet in which they cater to gluten and dairy allergies. The food was divine and the staff was very accommodating, generous and polite.

The Mill at Sonning Dinner Theatre launched the first Hydro Electric Scheme to be powered by the natural resources of The River Thames. This scheme generates enough electric energy for the theatre’s lights, the restaurant dining rooms, bars, ovens, as well as backstage corridors, dressing rooms, wardrobe areas, set construction workshops, and control box, in addition to its many, many offices. So as well as being a beautiful vintage building it is also Eco friendly.

This semi-round theatre seats 215 people. Bearing in mind how small this theatre is, the Top Hat set/ stage design is classy, with an imaginative art deco design. The set designer Jason Denvir has done an excellent job to factor in every little detail to do with the show. I know the director Johnathan O’Boyle wanted to make sure they could still change the set twelve times in each act seamlessly from New York to London, and then to the Lido in Venice. I think how the stage has been designed is very clever and imaginative and still conveys the story clearly to the audience.

As well as the set design, the lighting is simple but effective and it complements the actors. The costumes were classy and very well thought out to suit each character’s personality. In addition the make-up and hair yesterday were immaculate.

In my personal opinion, I thought the show was very sophisticated and glamorous with seamless scene changes. Every one of the ensemble, multi-roled depending on what country they were in. There was never a dull moment as there were always characters either moving set or dancing.

Top Hat is predominantly a tap-heavy show and I thought the choreography was imaginative and intricate. The ensemble all moved as one and every dance number was slick, smooth, and stylish.

I especially enjoyed watching Jonny Labey who played Jerry Travers. Every time he tapped it looked like he was floating on air. I feel he really embraced the tap-dancing magic of Fred Astaire and Ginger Rogers. He just glides across the floor effortlessly and is a pleasure to watch.

Top Hat features fourteen of Irving Berlin’s famous songs such as “Cheek to Cheek“, “Puttin’ on the Ritz” and “Let’s Face the Music and Dance“. These iconic songs were sung with class and elegance in the show. I especially loved when Billie-Kay, who plays Dale Tremont sang “Better Luck Next Time”, as she has a luxurious legit sounding voice which emotionally moved me.

Top Hat also has many comedic moments and I personally found Beddini played by Andy Rees really amusing.

Overall I think Top Hat is a flawless production and I thoroughly recommend it

Dominion Theatre, Tottenham Court Road, London until 7 January 2023

Reviewed by Marcia Spiers

4****

We thoroughly enjoyed this show and it put us both in a festive mood. The start of the show is very comical and sets the scene for what is good old fashioned family entertainment.

The orchestra led by Alan Williams was absolutely brilliant and they played some fantastic swing tracks. The ensemble/swing dancers were very polished. We particularly enjoyed the scenes with the Christmassy props including candy canes and boxes.

Simon Lipkin played a very credible Buddy, full of fun and yet able to show the vulnerable side of Buddy as someone who felt unloved and unwanted. His father Walter (Tom Chambers) did a great job of being so selfish and only interested in his work.

His team of office staff were desperately trying to keep their jobs and his secretary Deb played by Kim Ismay was one of my favourite characters portraying immense efficiency but with a sense of mischief.

Walter’s long suffering wife Emily (Rebecca Hobbs) was excellent at trying to persuade him to be a bit more interested in his son Michael, played by Logan Clark who definitely has a great future. His performance particularly in the second half was amazing. He has a great singing voice as does Rebecca Hobbs. Their duo together was memorable and well sang.

We particularly loved the Christmas shop scenery and the Manager ably played by Dermot Canavan. His character reminded me very much of all those stressed retailers out there hoping that everything will go to plan. His double act as the grumpy hot dog vendor was also superb.

The costumes were lovely and colourful and there is a huge surprise for everyone at the end which was wonderful and all the audience were in awe. We enjoyed all the songs and will be seeking out the sound track to play over the Christmas period!

This show is perfect for the Christmas season and if you are not keen on panto this is a great alternative because it has all the magic without the terrible jokes. A must see for all the family – be sparkly I felt underdressed!

Lyric Hammersmith Theatre – until 7th January 2023

Reviewed by Jacqui Radford

4****

Co -written by Jude Christian and Sonia Jalaly, this production is a perfect combination of all the elements of pantomime. We all associate pantomime with Christmas but enjoying Christmas is not an essential part of enjoying this production. From start to finish, the performance is charged with energy; fast dance routines, adventure, skateboarding, innuendo, slapstick and audience participation.

Fleshcreep (Jodie Jacobs) wants money from Jack (Leah St Luce) and her Mum, Dame Trott (Emmanuel Akwafa), with the threat of being fed to the giant in the sky if they don’t. To save them from their fate, Jack swaps their beloved Daisy the cow for a bag of magic beans. A perfect platform for adventure, moral and clever twist.

The set design, costume design and lighting blend together to conjure up the feeling of being in an arcade with reference to Hammersmith throughout. Bright lights, bright colours, outrageous outfits and flamboyance. Imagine milkshakes, singing cows, arcade machines and custard pies.

Being in the audience for this production brings pure joy and all ages are catered for. Everyone has something to talk about as they leave, whether it’s the fantastic performance and energy brought to the roles of Jack and Dame Trott, the confetti explosion and other special effects, seeing the excitement and engagement of children in the audience or being able to sing to your heart’s content. ‘Glory, Glory, Hammersmith!’.

New Vic Theatre, Newcastle Under Lyme – until Saturday 28th January 2023

Reviewed by Lesley Eagles

3***

The unique setting being a ‘theatre in the round’ means that you immediately feel immersed in the story from the outset.

The story begins on the family barge with a short bobbed, brown haired Alice rather than the more traditional version that you may be more familiar with.

Echoes of the story being set in the heart of Stoke are created with the surrounding imagery being that of smoking pottery kilns.

Alice, played by Eleanor Fransch, is a young girl who is extremely inquisitive asking an incessant amount of questions. Her character is likeable and irritating in equal measures, much like most children you meet! She displays the innocence and naivety of a young girl but also the know-it-all attitude that also comes with a child of that age who is learning to navigate life in a confusing adult world.

The barge soon turns into a street market stall where Alice meets a magician, The Great Blanco. An outstanding performance is given by Peter Watts who also plays the part of the White Rabbit. It is here that Alice begins her journey into a wonderland of adventure.

Alice follows the magician into a theatre where she finds herself tumbling through a trap door (rather than a rabbit hole) that she had been warned about on more than one occasion. Obviously In true child like fashion she had chosen to ignore this advice.

From here she goes on to meet an array of eccentric and entertaining characters, where she is often confused and battles to understand what is reality and what is fantasy.

What sold it to me was the versatility and clever design in which the story was told with many means of storytelling and outstanding puppetry of many styles. The shrinking and growing of Alice left the little girl in front of me in awe and I was equally entertained by her wonderful response.

The creative team have outdone themselves as the use of staging and props allowed fluidity throughout.

Purvi Parmar delivers an enthusiastic and determined performance of a vicious Red Queen threatening to behead her subjects and as a result gained the dislike of her audience. Opposite her, Victoria Brazier offered a beautiful vocal performance as the White Queen.

Danielle Bird plays the part of the mad hatter who, during the tea party, delivered a nonsense song with a great response from the audience, both young and old alike, who were thoroughly entertained.

In what was a magical performance, quite how they managed to overcome the challenges of performing some of the illusions in a theatre in the round is beyond me! However credit goes to Darren Lang for making it happen.

As always Theresa Heskins’ remarkable directorial style brings together a super performance from all those involved.

Although at times I found the story confusing, it is much like the original, nonsensical story which emphasises the many bewildering twists and turns of life in an often crazy adult world

Wonderfully entertaining and a truly magical performance

EMPIRE THEATRE, LIVERPOOL – FRIDAY 25TH NOVEMBER 2022

REVIEWED BY MIA BOWEN

4****

Following the success of last year’s Handel’s Messiah Concert, the Glyndebourne Tour returned this autumn with performances across the country, giving audiences the opportunity to enjoy world class opera on their doorstep and making opera more accessible to people all over the UK. The Tour, founded in 1968, enables the company to take operatic productions around the country and today Glyndebourne reaches around 150 000 people a year with over 120 live performances and extends to new audiences with digital innovations such as online streamings.

Last night I had the chance to watch one of three Operas currently entertaining audiences at the Empire Theatre, a double bill of The Anonymous Lover by Joseph Bologne, Chevalier de Saint-Georges and Mozart’s Requiem concert. Also being performed during their tour at the Empire is Michael Grandage’s popular 2012 staging of Mozart’s classic comedy The Marriage of Figaro and Dutch Director Floris Visser’s brand new production of Puccini’s La bohème.

Last night’s special concert of instrumental and vocal works, pairs music by French composer Joseph Bologne, Chevalier de Saint-Georges with that of his better-known contemporary and rival Wolfgang Amadeus Mozart.

Writer and director Simone Ibbett-Brown brilliantly created the production in part 1. It cleverly tells the story of composer Joseph Bologne’s extraordinary life through readings of his powerful diaries, interwoven with the narrative and music from his most successful and lone surviving opera, The Anonymous Lover (first performed in 1780). Baritone, Luthando Qave as Ophèmon and Soprano, Mariam Battistelli as Jeanette, gave an outstanding performance last night, leaving the audience with goose bumps.

The Glyndebourne Chorus takes the limelight in part 2 with Mozart’s legendary Requiem, which was unfinished at the time of his death in 1791. The beautiful and haunting Requiem in D minor is one of Mozart’s great musical works, not only is it a masterpiece but it carries with it much speculation and myth. Along with the splendid sound of the Glyndebourne orchestra conducted by Stephanie Childress and first-class vocals, there were superlative solo performances by Soprano, Alexandra Lowe and Bass, William Thomas. You could hear the audience gasping in wonderment at their sublime voices. The multi sectioned movement Sequentia is filled with vivid and often terrifying imaginary, dramatic stuff indeed. Sequentia: Confutatis and Sequentia: Lacrimosa are my favourite movements, and they did not disappoint!

Fifty four years later and The Glyndebourne Tour is still fulfilling Sir George Christie’s original vision and giving audiences varied ways to experience exceptional operas, most definitely making the Tour no ordinary opera!

Leeds Playhouse – until 28 January 2022

Reviewed by Dawn Smallwood

5*****

Roald Dahl’s Charlie and the Chocolate Factory The Musical comes to Leeds Playhouse for the festive season. The musical invites one into a world of imagination of Charlie’s plight and Willy Wonka’s confectionery wonders at his chocolate factory. The musical is based on David Greig’s book with Marc Shaiman’s musical composition and his and Scott Wittman’s lyrics.

Charlie (Amelia Minto) is introduced, and one observes the harsh reality of a family whose resilience to survive is supported by Charlie’s creative will to dream and hope for better things to come. Charlie’s creativity and optimism ripples through the family and is particularly encouraged to pursue this by Grandpa Joe (Michael D’Cruze). Fate suddenly changes when Charlie wins the last golden ticket to be invited to Willy Wonka’s chocolate factory where it deems a once in a lifetime opportunity to be astonished and to reaffirm the belief that is seen.

Accompanied by four other spoilt children and their parents, Charlie and Grandpa Joe embarks on a tour of the factory by none other than the eccentric Willy Wonka (Gareth Snook), whose unrestricted creations imagine the unimagined. Supported by Simon Higlett’s stunning and eye-catching staging and Simon Wainwright’s visuals, the musical is combined effectively with Mike Walker’s soundscapes, Chris Fisher’s illusions and Tim Mitchell’s lighting. This contributes to creative story telling as stipulated in Roald Dahl’s narration of the characters and the plot.

The musical numbers by Wittman and Shaiman and is set to the latter’s composition unravels the story from A letter From Charlie Bucket to the prophetic You Ain’t Seen Nothing Yet/It Must Be Believed to be Seen and to the fulfilment of Pure Imagination.

The cast perfectly portrays the characters which is led by Minto’s Charlie and Snook’s Willy Wonka. The excellent and talented cast are supported by the company and the creative team combined with James Brining’s direction, Ellen Campbell’s musical equivalent and Emily Jane Boyle’s choreography.

A combination of chocolate and candy are being imagined physically and figuratively as these are the perfect ingredients to make this musical a sweet success. One is transfixed from the start and transported to escapism throughout. Roald Dahl’s Charlie and the Chocolate Factory – The Musical is a joy of “pure imagination” and a pleasure to view and consume the spectacular.

Hull New Theatre – 24th November 2022

Reviewed by Catherine McWilliams

3***

Nobody, presented by Motionhouse, is billed as “A dance-circus adventure” and whilst there are incredibly acrobatic feats within it, the contemporary dance is outstanding and is the key to the performance. Kevin Finnan the Artistic Director of Motionhouse has created a piece which will stay with you for a long time.

Nobody is broken into two acts, in the first act we see the characters coping with everyday life and struggling to cope with their inner voices, represented by crows. At the start of the second act the characters are at their lowest ebb, drowning in all that life has thrown at them, but by working together they discover their own strength and leave the crows behind. Kevin Finnan’s work was developed during the covid lockdown and draws on the experiences of those times.

All of the dancers work as an ensemble, playing both crows and the everyday characters. The trust that these dancers need to have in each other is amazing as they drop from a height or are thrown around. Together they created human staircases to enable a character to climb to safety and hung from scaffolding pipes while another performer climbed across them, their core strength was outstanding. The dancing is beautiful with the dancers’ arms and legs creating wonderful lines and conjuring up so much emotion. The crows were beautifully portrayed, menacing and dark as they prowled the city. The angst of the characters poured off the stage as they struggled with life, negativity was rife throughout the stage. Particularly poignant was when some of the performers stood alone in a busy bar while everyone else was partying.

The set is created by projections which are not interactive but rely on the dancers moving the set on the right timings, this resulted in some quite jaw dropping backdrops and scene changes. There was not one point where the change seemed forced and what the dancers could do with that large cube was stunning to watch. The soundtrack to the piece was insistent and added to the emotions on stage, feeding into the fears and anxieties of the dancers.

This is a visually stunning, beautifully danced performance with some utterly jaw dropping moments, music and scenery being equal in creating the atmosphere. However, it is also a deeply disturbing and very depressing performance, the negativity created in the theatre was huge, although it is lifted to some extent in the second act. Kevin Finnan has succeeded in creating a very thought-provoking piece

The Grand Opera House, York – until 3rd December 2022

Reviewed by Katie Brewerton

4****

Pick Me Up Theatre’s production of Nativity: The Musical comes to York, based on the festive, fan favourite film ‘Nativity’ starring Martin Freeman.

After being left by his partner, Jennifer (Toni Feetenby) around Christmas, to pursue a career as a Hollywood film producer, Paul Maddens (Stuart Piper) loses his love for the holidays. He works at St. Bernadette’s Catholic Primary School and has vowed never to direct another nativity after his last attempt received a minus 2 star review.

His and Jennifer’s old best friend Gordon Shakespeare (Stuart Hutchinson) teaches at the local private school, Oakmoor and has received the coveted 5 star review from Patrick Burns (Jonny Holbek) a well known local critic for the past few years.

Mr. Maddens finds himself forced in to directing this years nativity by headmistress Mrs. Bevan (Alison Taylor), with the help of new teaching assistant Mr. Poppy (Jack Hooper). He bumps into Gordon Shakespeare and exaggerates the extravagance of their nativity, even telling him Jennifer is attending, with Hollywood to film St. Bernadette’s Nativity. He is over heard by Mr. Poppy who quickly tells the whole school and city.

Now Mr. Maddons and Mr. Poppy must try and convince Hollywood to attend or face up to their lie.

The technical issues with microphones not working did unfortunately take away from the show at certain points, but hopefully that will be rectified for future performances. The staging was great with excellent lighting and children even hanging from the ceiling for the final performance of the Nativity.

With a wonderful, talented cast of children this is an excellent family friendly alternative to the traditional Christmas panto. And the adult cast are also great particularly Hooper’s Mr.Poppy who is lovable and a fast audience favourite. Funny, feel good and heart warming this is a lovely story to get you in the mood for Christmas.

MIND MANGLER: MEMBER OF THE TRAGIC CIRCLE 

WEST END PERFORMANCES NOW ON SALE 

TOURING THE UK FROM JANUARY 2023 

STARRING HENRY LEWIS & JONATHAN SAYER 

The ‘Mind Mangler’ persuaded the following producers to back this production: Kenny Wax, Stage Presence and Kevin McCollum. (They regret it). 

TOURING THE UK FROM 7 JANUARY 

SELECT SUNDAYS IN THE WEST END 
GARRICK THEATRE 

Sunday 15 January at 7pm | Sunday 5 February at 3pm & 7pm | Sunday 26 March at 7pm 

Olivier award-winning comedy favourites, Mischief, today announce extra dates for their first ever UK Tour of Mind Mangler: Member of the Tragic Circle, including select Sunday performances at the Garrick Theatre in the West End and a preview performance at Mountview. Mind Mangler is the latest Mischief comedy written by Henry Lewis, Jonathan Sayer and Henry Shields, the writing (and performing) trio best known for the global phenomenon The Play That Goes Wrong and the BBC comedy series The Goes Wrong Show. 

In response to sold out performances at the Edinburgh Fringe, Mind Mangler has now been developed into a two-act show for a major UK tour, starring Henry Lewis as the ‘Mind Mangler’ and Jonathan Sayer as his ‘Stooge’. 

Join the ‘Mind Mangler’ as he returns to the stage following a disappointing two-night run at the Luton Holiday Inn conference centre, suite 2b. His new solo spectacular is predicted to spiral into chaos as he attempts to read your mind…

Following a preview performance on Friday 6 January in London at The Mack Theatre at Mountview, the UK tour will open on Saturday 7 January at the Wyvern Theatre, Swindon, visiting a further twenty-three venues nationwide until 22 April 2023, with West End performances at the Garrick Theatre on Sunday 15 January, Sunday 5 February and Sunday 26 March 2023. All venues are now on sale. 

Mischief’s other stage successes include The Play That Goes Wrong (West End, Broadway and on tour across the UK and internationally with productions staged on every continent – with the exception of Antarctica), Magic Goes Wrong, Peter Pan Goes Wrong, A Comedy About A Bank Robbery and Mischief Movie Night. Their ‘Royal Television Society’ award-winning BBC One series The Goes Wrong Show aired in December 2019 with a Christmas special, with further episodes in early 2020, and a hit Nativity special last Christmas. The second series aired in September 2021 on BBC One and iPlayer. 

The Rep, Birmingham – until 7 January 2023

Reviewed by Julia Spargo

5*****

Christmas has exploded over Birmingham in a shower of confetti with the arrival of NATIVITY! The Musical, written and directed by Debbie Isitt.

Already a fan of Nativity, the 2009 film starring Martin Freeman, I was curious as to what to expect from a stage adaptation. The creator of both screen and stage productions, Debbie Isitt has kept the original plot; a love story, a rivalry between two local primary schools and the friendship between the unlikely pairing of teaching staff Mr Maddens and Mr Poppy, and added more songs, more jokes, and an energy that seems to pulsate off the stage.

From the initial number, “Here Comes Santa Claus (M.A.D.A)” to the finale of “Sparkle and Shine”, the musical is a burst of sheer exuberance. The ambitious set design changes settings seamlessly between the interior of Mr Maddens’ home, St Bernadette’s Primary School, Oakmoor Prep School, Hollywood and Coventry Cathedral. The lighting effects grab the attention, from Mr Poppy’s initial entrance using the spotlight in a gag, to a touching scene in which the audience is invited to use its phone torches to light the stage.

Ben Lancaster is hilarious as Desmond Poppy, the hapless but loveable new teaching assistant assigned to Mr Maddens’ class at St Bernadette’s. He brings an infectious joy to the stage in every scene.

“Herod the Rock Opera” features Matthew Rowland as a fabulously camp Mr Shakespeare in an Alice Cooper-esque pastiche that was lost on my children but I loved. It also picks the pace up after a slight lull in the beginning of Act II.

Special mention must go to each of the wardrobe team (Denis Blatchford, Michelle Shaw, Melanie Francis, Roanne Bray, Daisy Dunne, Chloe Fundak, Helen Reeves, Amelia Whittaker, Georgia Cooper and Andriea Nelson) for the sheer number of costume changes; there are at least thirty children in the cast with some very elaborate costumes.

If the spirit of Christmas has yet to grab you, or you find yourself feeling jaded by world events, get yourself to Birmingham Rep this December and revel in the fun. There’s even a cute dog in it.