CASTING ANNOUNCED FOR BALLO ARTHUR PITA’S LONDON PREMIERE OF TEN SORRY TALES
Family entertainment for the October half term holiday
Ballo Arthur Pita presents
TEN SORRY TALES
By Mick Jackson
Directed & choreographed by Arthur Pita
Co-Commissioned by DanceEast and Sadler’s Wells
Lilian Baylis Studio, Sadler’s Wells, London
27 – 29 October 2022
Award-winning Director and Choreographer Arthur Pita returns to the Lilian Baylis Studio, Sadler’s Wells this month to present the London premiere of TEN SORRY TALES, a dance theatre production with live music on stage based on the book of short stories by Mick Jackson. Playing from Thursday 27 to Saturday 29 October with two shows daily, TEN SORRY TALES offers the perfect half term treat for children and adults alike (ages 8+).
The cast includes: Danielle Downey, Karl Fagerlund Brekke, Nathan Goodman, Frank Moon, Simon Palmer, Faith Prendergast and Joshua James Smith.
With music and lyrics by Frank Moon and Bev Lee Harling, designs are by Yann Seabra, lighting by Mark Doubleday and projections by Michele Cadei.
Celebrated for his surreal take on storytelling, Pita’s TEN SORRY TALES presents a collection of modern-day fables for the curious minded, combining dance, theatre, live music and song. From the child who sleeps for many many years, to the sinister sisters who prey on trespassers, and the boy who brings butterflies back to life, these tales are by turns inquisitive, moving, macabre and humorous.
Presented by Ballo Arthur Pita, co-commissioned by DanceEast and Sadler’s Wells and supported by Arts Council England, TEN SORRY TALES was first performed at DanceEast, Ipswich in December 2019. Its 2020 London transfer was postponed due to the pandemic.
Ballo Arthur Pita’s other critically acclaimed productions include: God’s Garden, The Little Match Girl which has enjoyed UK and international touring plus five Christmas seasons at Sadler’s Wells, The World’s Greatest Show and Stepmother/Stepfather.
RuPaul’s Drag Race UK stars River Medway and Victoria Scone are to co-star in Death Drop’s new drag murder mystery sensation Death Drop: Back In The Habit, which begins a UK Tour in October. They will join a full drag supporting cast and previously announced: RuPaul Drag Race UK and Drag Race Vs The World star Cheryl Hole, RuPaul USA Drag Legend Willam and Drag King LoUis CYfer. Tickets are on sale now from DeathDropPlay.com
Kicking off on 27 October in Bromley, this laugh-a-minute production – written by Rob Evans and directed once again by Jesse Jones – will then sashay into Dartford, London, Wycombe, Cardiff, Crewe, Brighton, Blackpool, Sheffield, Leicester, Aberdeen, Nottingham, Liverpool, Glasgow, Manchester and Birmingham until 18 March 2023, with further venues to be announced.
Death Drop: Back In The Habit sees a gaggle of fierce Nuns confined to their Convent. But their peace and tranquility is shattered by a serial slayer slashing their way through the sisters. With the help of an unexpected visitor from the Vatican, can Mother Superior and the rag-tag Sisters of St Babs save their convent, save souls, and save themselves?
As Drag Race UK recently returned to TV and continues to be BBC Three’s most popular non-scripted show, the popularity and fun of drag, combined with our Nations love of a murder mystery remains inescapable. Earlier this year on ITV’s Saturday Night Takeaway Ant & Dec performed at the end of the show in full drag to an audience of 7.4m. Alongside the release of new murder mystery film See How They Run, that remained top of the cinema box office throughout September 2022, the popularity of the art of drag and murder mysteries remain a firm public favourite.
Death Drop: Back In The Habit – UK Tour 2022/2023
27 – 30 October Bromley: Churchill Theatre
1 – 5 November Dartford: Orchard Theatre
8 – 20 November London: Garrick Theatre
22 – 26 November High Wycombe: Swan Theatre
29 November – 3 December Cardiff: New Theatre
6 – 10 December Crewe: Lyceum Theatre
13 December – 24 December Brighton: Theatre Royal
3 – 7 January Blackpool: Grand Theatre
10 – 14 January Sheffield: Lyceum Theatre
17 – 21 January Leicester: Curve Theatre
23 – 28 January Aberdeen: Her Majesty’s
14 – 19 February Nottingham: Theatre Royal
7-11 February Liverpool: Everyman Theatre
23 – 25 February Glasgow: King’s Theatre
9 – 12 March Manchester: Opera House
13 – 18 March Birmingham: The Alexandra
* Willam will be performing in the production until up to and including Cardiff’s New Theatre
*River Medway will be performing in the production until up to and including Aberdeen’s Her Majesty’s Theatre
Darkly comic Pickle returns to Park Theatre this November after sold-out run Monday 14th November – Saturday 26th November 2022 Park Theatre (Park90), Clifton Terrace, Finsbury Park, London, N4 3JP
After captivating audiences during its sold-out performances in May, Pickle returns to Park Theatre this November as part of the Make Mine A Double Festival. Writer Deli Segal (Ali & Dahlia, Pleasance Theatre) stars in this cheeky and authentic exploration of what it means to be a young Jewish woman in London today, in a tale brought to life by female-led Jewish creative team.
Ari lives at home in North-West London, where her life is dominated by overbearing parents, tradition and expectations. However, her daily life includes her job, going out – and, inevitably, the dating scene. Pickle follows Ari as she tries to balance Friday night dinner with drinks at the pub, JSwipe with Hinge, being Jewish and secular. This uproarious simcha of a one-woman show explores a young Jewish woman’s psyche as she navigates her two contrasting worlds with irreverent humour and heart. Expect smoked salmon, guilt and a large dose of self-deprecation as Pickle brings Ari’s vibrant world to life.
Pickle is written and performed by Segal, produced by Tanya Truman (Confessions of a Rabbi’s Daughter, The Other Palace; Tier Three Sisters, The Hope Theatre) and directed by Kayla Feldman (Swimming, White Bear Theatre; Dear Peter, Iris Theatre), all female Jewish theatremakers who strive to amplify Jewish voices on stage.
Deli Segal, writer and performer, comments, Pickle is all about one woman’s experience of reconciling belief and tradition with change. I wanted to tell a story that explores being in the middle of both worlds and celebrates the parts that fit together, and those that don’t. The vibrancy, the spirit, the richness of culture, the humour of Jewish life – those things often get lost in the conversation. Pickle brings them all to the stage.
EMPIRE THEATRE, LIVERPOOL – UNTIL SATURDAY 15TH OCTOBER 2022
REVIEWED BY MIA BOWEN
4****
Jim Steinman’s Bat Out Of Hell The Musical, literally roared into Liverpool last night, lining the street in front of the Empire Theatre with a parade of motorbikes, similar to the one featured on the front of the 1977 Bat out of Hell album. It was a wonderful tribute to not only the late, great Meat Loaf and talented composer Steinman but also set the scene for what was to be a memorable evening.
Bat Out Of Hell is a rock musical with music, lyrics and book by Steinman, based on the Bat Out Of Hell album by Meat Loaf. Steinman wrote all the songs, most of which are from the Bat Out of Hell trilogy albums. The musical premiered at the Opera House in Manchester in February 2017 and originally starred Rob Fowler (Mamma Mia, CATS, The Buddy Holly Story) as Falco and Sharon Sexton (Mamma Mia, Billy Elliot The Musical, Anything Goes) as Sloane, who performed in last night’s production.
The musical is a loose retelling of Peter Pan and follows Strat, performed by Glenn Adamson, the leader of ‘The Lost’, a group of rebellious teenagers who will forever remain 18, living underground in a dystopian setting. Strat has fallen in love with Raven, performed by Martha Kirby, daughter of Falco, the tyrannical ruler of Obsidian. This romance causes upset amongst ‘The Lost’ and Tink, performed by Killian Thomas Lefevre, seeks the same revenge as Raven’s father, Falco.
Bat Out Of Hell was always meant to be a musical and takes Steinman and Meat Loaf’s greatest hits and turns them into an exciting musical experience. All rock fans are familiar with the songs and Bat out of Hell has sold over 40 million copies, it reached its highest position in the USA Billboard chart earlier this year after Meat Loaf, Michael Lee Aday, passed away.
The cast is wondrously talented and the music sounds extremely good, giving the audience the chance to hear the songs they love, performed spectacularly. No surprise this musical has a worldwide fan base. The set design is impressive, Obsidian is brought to life, with Falco Towers standing out against the desolate and black background.
The musical ended with the audience in a standing ovation. A touching moment was when actor Rob Fowler encouraged the audience to take out their phones to record the last musical number and share it on social media, he stated that “Live theatre is back!”
Bat Out Of Hell is a ride full of adrenaline to hell and back! A must see for Meat Loaf fans!
Royal & Derngate, Northampton – until 8th October 2022
Reviewed by Ely King
5*****
Content warning: mentions of sexual assault and abuse
This cast is overflowing with endless talent
The Color Purple is a brutally honest portrayal of what life was like for many people of colour in the past.
Based on the well-loved novel written by Alice Walker, and the movie directed by Steven Spielberg, this musical adaptation is a modern masterpiece.
The production follows the tumultuous life of Celie (Me’Sha Bryan) from a young age as she navigates the twists and turns of being a black woman in the early 1900’s – prior to the Civil Rights Movement.
By the age of fourteen, Celie has already given birth to her second child as a result of being raped by her father (KM Drew Boatend), who ‘gets rid’ of them shortly after birth.
Before she even has a chance to begin to recover, she is shirked off into the hands of a brute of a man, Mister (Ako Mitchell).
Though Celie goes willingly, accepting her role in society, her headstrong sister Nettie (Aaliyah Zhané) is defiant from the get-go, proclaiming how she will be a teacher and have her own life.
It’s this defiance, and natural beauty, that catches the eye of Mister, and upon her rejection, he shuns her from his property – Celie assumes her sister has been killed by her husband.
With no sister for support, Celie succumbs to the ruthless torment and beatings that her husband bestows on her, never once complaining or questioning the mechanics of their relationship.
Thankfully, by the end of the show, Celie is once again surrounded by people who love and care for her and is finally truly happy.
Despite the show being incredibly heavy in places, there is still a sprinkling of comedy throughout. It is enough to help lighten the show in areas, but doesn’t detract from the storyline or make light of the story being told.
This delicate balance helps the show become the success that it is.
That, and the cast.
This touring cast are some of the most talented performers out there right now.
From start to finish, this performance is a sensational masterclass of talent.
Me’Sha Bryan and Ako Mitchell as Celie and Mister are true standouts of the performance, having the perfectly believable to-and-fro with some jaw-dropping solos.
Ako manages to even get the audience feeling sorry for him at parts of the show, which is a huge feat considering how cruel his character is portrayed.
Even though Me’Sha and Ako may be the leads, every single person in this cast has their well-deserved moment to shine.
These singers are so phenomenally talented, their vocals are borderline ethereal at times.
Two of the women who help Celie gain strength and independence are Sofia, played by Analisa Lamola, and Shug Avery played by Bree Smith. Analisa and Bree are incredibly talented, performing some show-stopping ballads effortlessly with an air of grace that commands the attention of the audience.
Whilst every single cast member deserves their own shout-out, honourable mentions have to go to Esme Laudat, Karen Mavundukure and Rosemary Annabella Nkrumah who play Jarene, Doris and Darlene respectively. The three women act like rogue narrators, stirring up gossip amongst themselves between scenes to help introduce characters and add that little bit more drama. Their characterisation is very reminiscent of The Muses from Hercules, or The Fates from Hadestown.
Although the women undoubtedly run this show, the men are no joke either.
The ensemble stars the incredible Joshua Clemetson and Ahmed Hamad (among others) who are the perfect light relief and sounding board for the women to play against.
The Color Purple is an invaluable and unforgettable piece of art and is a must-see for everyone.
Belgrade Theatre, Coventry – until Saturday 8th October 2022
Reviewed by Amarjeet Singh
5****
The Rocky Horror Show is unlike anything you have ever experienced. For a novice like me, it was akin to walking into a magical mystery land. There were seasoned fans wearing colourful basques, stockings, high heels, suspenders, and spectacular wigs, and newbies like me looking around in wonder and anticipation as to what was about to unfurl.
This comedic musical horror tells the story of a young, innocent, and newly engaged couple, Janet (Haley Flaherty) and Brad (Richard Meek) who have a life changing encounter with some creatures of the night. When their car breaks down, they decide to go for help and stumble on a castle in the middle of nowhere. The castle just happens to belong to alien transvestite scientist Frank ‘N’ Furter from the planet ‘Transexual’. This meeting sets off an unforgettable evening of sex and murder, and the play takes on a bizarre turn when Brad and Janet realise too late that they are out of their depth and are easy game for the castle’s creatures.
Richard O’Brien’s, The Rocky Horror Show is simply spectacular. Rumbunctious, bawdy, thrilling…It’s hard not to gush when describing this brilliant production which is directed by Christopher Luscombe.
Audience participation is off the charts. Again, for those unfamiliar with this show, in terms of audience etiquette, throw the rule book out of the window. People will heckle, dance, sing, and wave lights but it all adds to the entertainment and enjoyment of the show. There is a deep respect and appreciation for all players and viewers alike. Everyone is in on it. For this reason, the Narrator, who is our guide into the murky realms of the goings on in the castle, has a key role to play. Tonight’s narrator was Stefano Guerriero, he did an amazing job. He was sharp and snappy and his narration flowed as well as his glossy locks. He completely held his own against a quick-witted audience.
Stephen Webb and Kristian Lavercombe were incredible as Frank ‘N’ Furter and Riff Raff, respectively. They relished their roles, both magnificently manipulative and masterful and wildly funny! In fact, the cast as a whole are phenomenal and deserve to be credited for their faultless performance. The vocals and dance numbers are spot on throughout.
The Rocky Horror Show defies convention. Lavishing in lust, sex and weirdness yet we must not forget that this show is revolutionary. If your idea of a great night out is throwing caution to the wind and singing and dancing with your fellow audience members, then this is the show for you! Seeing the Time Warp performed by the entire theatre is a sight to behold! Be bold and see the Rocky Horror Show. Don’t dream it, be it.
Charing Cross Theatre, London – until 22nd October 2022
Reviewed by Celia Armand Smith
2**
When a play is described as “rarely performed”, you have to wonder why. Tennessee Williams’ The Milk Train Doesn’t Stop Here Anymore has had a rocky past on stage and screen despite being one of his most passionate projects, reflecting a time of personal grief and sorrow. It’s been revived numerous times and rewritten, but it’s always stumbled, never managing to compare to his other, more notable works.
Set on the Amalfi Coast in 1962, a wealthy four time widow, Sissy Goforth (Linda Marlowe), is dictating her colourful memoirs to her assistant Miss Black (Lucie Shorthouse). Aware that the end is nigh, she vaguely reminisces about her multiple husbands and the life she’s lived. That is until a mysterious young poet arrives at her door. Christopher Flanders (Sanee Raval), known locally as ‘The Angel of Death’ because of his propensity for turning up just as wealthy, elderly women are about to die, comes to see Mrs Goforth, and we see if he will live up to his title. She is also visited by a high spirited old friend known as the ‘Witch of Capri’ (Sara Kestelman) which creates some light relief, however her part is over way too soon.
If this play was written now, someone would make a meme about how it could have been an email. It is more an essay about Tennessee Williams’ thoughts on death and the meaning of life. The director, Robert Chevara, is an expert in Tennessee Williams, and though there are some gestures made to stay truthful to the setting, there are some strange choices. Mobile phones and some characters wearing more modern clothing butt heads with more period dress and anecdotes about Truman Capote.
The production design by Nicolai Hart-Hansen is simple and used to great effect by the cast. Utilising different parts of the theatre including the balcony and the stairs, you felt like you were in the house with the characters.
The Milk Train Doesn’t Stop Here Anymore makes for interesting viewing if you are a Tennessee Williams completist, and covers some big topics. However, I think that maybe this play should be, like the elderly “victims” of Christopher Flanders, laid to rest.
This classic romantic farce, written by Oscar Wilde, has been given a lighthearted approach by director Denzel Westley-Sanderson. However, it also questions assumptions we might have about Victorian England and is performed by an all black cast.
The play begins in the home of Algernon Moncrieff ( Abiola Owokoniran) with some flamboyant teasing between Algernon and his friend John Worthing ( Justice Ritchie ) about a name on a cigarette case. It becomes clear that John uses the name Ernest when in London and Jack when in the country. Algernon then introduces John to the notion of bunburying which can be defined as deception, fiction and escapism. He also uses the word Bunbury to describe his fictional friend.
As the narrative moves on two characters arrive at Algernon’s home for afternoon tea; they are Gwendolen (Adele James), Algernon’s cousin, and his aunt ( Gwendolen’s mother), Lady Bracknell (Daniel Jacob/Vinegar Strokes ). John intends to propose to Gwendolen during their visit but things do not go according to plan!
In act ll John goes to his country estate to visit Cecily ( Phoebe Campbell ) who he is guardian to. He is seen wearing a very flamboyant and rather comical costume and seeks to convince those around him that his brother Ernest has died. There is much confusion at this point as Cecily thinks Algernon is John’s brother Ernest and has agreed to become engaged to him.
In Act lll all of the main characters are on stage and there is much farcical confusion around names, identity, death and proposals of marriage! Eventually Algernon proposes to Cecily, John proposes to Gwendolen and Miss Prism ( Joanne Henry) who is Cecily’s governess, finally reveals John’s true identity.
I absolutely loved this slightly unconventional interpretation of, “The Importance of Being Earnest.” Lady Bracknell (think part pantomime dame and part Miss Trunchbull from Matilda) played a great part; she was intimidating and larger than life in every respect! Her costumes were superb and gave her an incredible sense of presence on stage. The rector, Dr Chasuble ( Anita Reynolds) was clearly female and had quite a comedic role. Her interest in Miss Prism was subtle but nevertheless quite obvious. Both Cecily and Gwendolen wore immaculate period costumes and they demonstrated amusing, rebellious aspects to their characters alongside quite shallow characteristics. Their frivolous dialogue and over reaction served to highlight more serious issues. Cecily for example, states that she could never love a man called Algernon!
This review would not be complete if I failed to mention some of the classic one liners that were an integral part of the play. Near the beginning we are informed that the lower order have no sense of moral responsibility and on another occasion the opinion is expressed that literary criticism is for people who have not been to university! A favourite of mine was, “education has no effect whatsoever!”
Watching this play was like drinking a lovely glass of champagne; it was light and frivolous but with some interesting undertones. Issues around class, identity, race, relationships and marriage were all
explored and from the reaction of the audience many of these issues were as relevant today as they were when the play was written by Oscar Wilde.
‘Tarts and barmaids. I just took whatever came along!’ – Dora Bryan
West End Diva Rosemary Ashe pays tribute to national treasure Dora Bryan in a tour of Adorable Dora. opening at the Lighthouse Theatre, Poole on 19 October before visiting Guildford, Bromley, Bingley, Bracknell, Surbiton and Hastings.
Over nearly eight decades Dora did it all, from pantomime and Carry On to Shakespeare, from Last of the Summer Wine and Ab Fab to Dinner Ladies, and perhaps most importantly her iconic and BAFTA Award winning performance in the film A Taste Of Honey. She earned the title national treasure in so many ways.
Now that legend is being brought to the life by West End star and Olivier Award nominee Rosemary Ashe (The Phantom of the Opera, The Witches of Eastwick, Mary Poppins) and Paul Knight (42nd Street, Forbidden Broadway) Who will take you on a fascinating musical voyage through Dora’s life. Expect fun, music & laughter with excerpts from Hello Dolly, The Water Gypsies and many more.The show tells the tale of Dora’s often turbulent life and recreates some of Dora’s best known and best loved theatrical creations.
Adorable Dora is written by Rosemary Ashe who says“I’ve always been a huge fan or Dora and during a clear out in Lockdown I discovered an old cassette of hers which inspired me to write the show. After months of research into Dora’s life and speaking with many people who had known and worked with her Adorable Dora was born. It’s a privilege to play her and to keep her spirit alive on stage”
Produced in association with DMP Theatre Limited. Adorable Dora, directed by Ben Stock with Musical Direction from Paul Knigh,t has recently played the Fringe, Above the Stag, The Pheasantry and Jermyn Street Theatre to the delight of critics and audience members alike .
“Not only does Rosie look and sound like her, she manages to convey the very essence, fun, eccentricity and flamboyance of this wonderful, wonderful actress. I urge everyone to beg, steal or borrow a ticket.” – Christopher Biggins (long-time friend of Dora)
“you close your eyes, you hear Dora” – Brian Butler Brighton Fringe
“Ashe’s characterisation is perfect, the gamut of voices superbly nuanced, and the show itself, whilst light, points up the darkness with a few telling songs” Fringe On Line
Don’t miss your chance to see this extraordinary tribute to one the comedy greats this Autumn book direct at venue websites.
THEIR FIRST SPANISH-LANGUAGE PRODUCTION LIFE IS A DREAM (LA VIDA ES SUEÑO) AS PART OF THE BARBICAN’S 2023 SEASON
Cheek by Jowl, led by Artistic Directors Declan Donnellan and Nick Ormerod, today announce tour dates and cast for their first Spanish-language production Life is a Dream (La Vida Es Sueño) by Pedro Calderón de la Barca. One of the most famous plays of the Spanish Golden Age, this production has its première at Teatro Lope de Vega in Seville, before touring to Girona, Valladolid, Valencia, Madrid and Albi (France) in its first season. The production will then return to the Barbican where the company are Artistic Associates, for its UK premiere from 13 April to 16 April 2023, with further dates to be announced.
Performed by an ensemble of Spanish actors, Donnellan directs Ernesto Arias, Prince Ezeanyim, David Luque, Manuel Moya, Rebeca Matellán, Alfredo Noval, Goizalde Núñez, Antonio Prieto and Irene Serrano.
The production is a co-production with Spain’s foremost classical theatre, the Compañía Nacional de Teatro Clásico in Madrid, under the Artistic Direction of Lluís Homar and LAZONA Productions.
Declan Donnellan today commented: “It is great to be working with this wonderful company of Spanish actors – and on this play, arguably the greatest achievement of the Spanish Golden Age. We performed in Spain before we ever performed in London, in the autumn of 1984. That was with Pericles which subsequently toured widely across the UK, Europe and beyond. In the spirit of that odyssey and adventure, we look forward to bringing our new production of Life is a Dream home to the Barbican and sharing it with audiences far and wide in the coming season…. We are very grateful to our partners in Spain, France and the UK who helped us to make this Dream a reality”
Co-produced by Cheek by Jowl, Compañía Nacional de Teatro Clásico (CNTC Madrid) and LAZONA; in collaboration with the Barbican, London and Scène Nationale d’Albi, France.
LIFE IS A DREAM (LA VIDA ES SUEÑO)
Written by Pedro Calderón de la Barca
In a version by Declan Donnellan and Nick Ormerod
Cast: Ernesto Arias, Prince Ezeanyim, David Luque, Rebeca Matellán, Manuel Moya, Alfredo Noval, Goizalde Núñez, Antonio Prieto and Irene Serrano.
Director: Declan Donnellan; Designer: Nick Ormerod; Assistant Director: Josete Corral; Lighting: Ganecha Gil; Sound Design and Composer: Fernando Epelde; Movement Director: Amaya Galeote; Dramaturgy Advisor: Pedro Villora; Assistant Designer: Alessio Meloni; Lighting Assistant:
Javier Hernandez; Costume Assistant: Elena Colmenar; Sound Assistant: Gastón Horischnik; Interpreter: Juan Ollero; Publicity Design: Javier Naval; Executive Producer (LAZONA):
Miguel Cuerdo; Company Manager (LAZONA): Elisa Fernández
European Tour (see listings below)
14 October 2022 – April 2023
A prince chained in a mountain. A young woman disguised as a man, in search of vengeance. Revolution, love and murder – but in Life is a Dream, is the real truly real or is it all just a dream?
Written in verse in 1635, Life is a Dream is one of Spanish dramatist Pedro Calderón de la Barca’s best-known and most studied works and was listed as one of the 40 greatest plays of all time by The Independent.
