MAST Mayflower Studios, Southampton – Until 17th September 2022
Reviewed by Sally Lumley
5*****
Unfortunate, from Fat Rascal Theatre and Wildpark Entertainment, is a modern re-imagining of Disney’s Little Mermaid that never takes itself too seriously. Anyone expecting the original will be shocked by this saucy adult take on the classic fairytale, told from the perspective of Ursula the iconic sea witch. As one of the songs says – these are the creatures that Disney don’t show.
The narrative goes beyond the movie, imagining a history where King Triton (George Whitty) and Ursula (Robyn Grant) become close to marriage before being forced apart, and Ursula becomes a sea witch spurned. Ariel (Miracle Chance) becomes a Towie-style teen not at all suited for the throne, and Prince Eric (Jamie Mawson) is a vacuous man-child obsessed with his flute. The cast is completed by Allie Dart as an Irish Sebastian the crab, and Jack Gray as Scuttle the seagull. The multi-talented cast were enjoying themselves and it was infectious. They took on several roles, all with superb voices and perfect comic timing. Robyn Grant shines in the lead role; she is the camp vamp we all remember from the movie, working the tentacles and beehive, and smashing out some amazing vocals. For anyone who saw the movie as a child, and grew up wanting to be Ariel, this show makes it clear that the real role model was Ursula all along; there’s no doubt in my mind which queen I would rather be.
The score parodies the songs from the Disney movie so cleverly that sometimes it is easy to forget that they’re not the originals, that is until you pay attention to the adult lyrics! However, the new material provides some of the strongest musical moments in the show. Unfortunate has echoes of more established musicals, from the rise of the villain in Wicked, to the queens taking back their own destiny in Six, and it more than holds its own in their company.
The staging is small and intimate, with the band on stage throughout. Costumes (designed by Cory Shipp) were ingenious. Who knew that with a few sequins and little wiggle you would forget you weren’t actually watching mermaids on stage? Puppets are also used with great effect, to bring to life the creatures of the deep.
Unfortunate is a timely tale of royal succession, chock full of dark humour and catchy songs. The humour is sometimes crude but always tongue in cheek, and the audience are in on the joke. While it might not be for everyone, once the shock value wore off the audience in Southampton last night were lapping it up. Unfortunate is an absolute triumph of fishy, flutey, filthy fun. The unexpected theatre highlight of 2022.
“Brilliant…these are comedians at the top of their game”
The Telegraph
Multi-award-winning improvised comedy troupe Austentatiousare delighted to announce a tour for Autumn this year. The show will entertain and astonish audiences in equal measure across the country, beginning in Liverpool on 2nd October and concluding in Wincester on the 5th of November. Tickets are on sale and available from https://www.austentatiousimpro.com/
Austentatious is saddling the horses for a Grand Tour of the United Kingdom! Before Bridgerton there was… Austentatious! The smash-hit Regency comedy romp returns, stuffed with rakish dukes, swooning ladies, and romantic entanglements aplenty. Austentatious is an improvised comedy play starring a cast of the country’s quickest comic performers. Every single show the cast conjures up a brand new ‘lost’ Jane Austen novel based on nothing more than a title suggested by the audience. The show comes fresh from multiple sell out runs at the Edinburgh Fringe, residencies in London’s West End and at Leicester Square Theatre and a BBC Radio 4 Christmas special. Now Austentatious will be appearing at theatres across the country to entertain and astonish audiences in equal measure. No two shows are ever the same, with previous ‘lost’ masterpieces including ‘Crazy Rich Georgians’, ‘Double 0 Darcy’ & ‘Game of Scones’. Performed in period costume with live musical accompaniment, this is a Regency treat guaranteed to delight the whole Ton, Austen novices and die-hard fans alike.
The rotating cast is made up of a host of acclaimed comedy talent including: Cariad Lloyd, Rachel Parris, Graham Dickson, Charlotte Gittins, Daniel Nils Roberts, Lauren
Shearing, Amy Cooke-Hodgson and Joseph Morpurgo. Show stars a varying line-up of the cast.
Sunderland Empire – until Saturday 17 September 2022
5*****
Written by Jay Osmond, this new musical tells the story of one of the most famous family singing groups rise to fame. With a theatre packed full of some of the original fans, chanting and clapping for the group, it was a nostalgic and cheesy trip into their lives.
The original four boys began singing to raise money for new hearing aids for their older brothers Verl and Tom. A chance encounter at Disney resulted in an appearance on the Andy Williams show, which in turn led to a permanent contract and a new life away from Utah, in California.
Alex Lodge narrates the show and carries the story forward in his role of Jay. Telling us how their strict father George (Charlie Allen) made them get up at 4.30 to practice their harmonies, their instruments and their smiles. Their two mantras being “Faith, Family, Career” and “It doesn’t matter who’s out front as long as it’s an Osmond” What their father lacked in compassion, their mother Olive (Nicola Bryan) made up for in spades. Lodge’s easy charm and mannerisms make it look like he is really reminiscing about his past. But we must mention Ryan Anderson’s stunning vocals. From the rough gravelly tone to the incredible high notes, he took every single opportunity to show off his phenomenal talent as Merrill, chronicling his mental torment so heartfelt.
Alan (Alex Cardell stepping in for Jamie Chatterton), Wayne (Danny Nattress), Merrill (Ryan Anderson) and Jay, sang and danced with ease, joined by Donny (Joseph Peacock) and Marie (Georgia Lennon). Alongside “Little” Jimmy Osmond (Lyle Wren), who still holds the record for the youngest person to have a number one record, with Long Haired Lover from Liverpool.
The child actors in the cast need a massive special mention, on press night we watched Nicholas Teixiera (Donny), Oliver Forde (Alan), Louie Stow (Wayne), Jack Sherran (Merrill), Lonan Johnson (Jay) – all amazingly talented.
Unfortunately bad advice and management in the 80’s led to a financial crisis. The choice being to declare bankruptcy and lose the Osmond name or work hard to recoup the $80 million debt. Hard work followed and a 2 year world tour cleared the debts but after the tour the family never sang again together for over 20 years until they joined up to celebrate their 50th anniversary.
The tag line for the show is “one family – one hundred million records” and the production is packed full of songs that everyone will recognise including Paper Roses, Puppy Love, One Bad Apple and my favourite Love Me For a Reason. All played by a live band (Will Joy, Tom Slade, Alistair McMath and Adam ‘Twenny’Sheffield).
Bill Deamers choreography echo’s the original moves and Lucy Osborne’s costumes set the right tone for nostalgia too. I liked the way the boys kept in their colours. Ben Cracknell’s lighting and Dan Samsons sound complimented Shaun Kerrisons direction. This is a joy of a show from Aria Entertainment, proving that Katy Lipson really has got the golden touch.
In a theatre packed with ladies of a certain age, it seemed there were a lot of fans in the audience, very obviously having a wonderful time. Whether an original fan or a discoverer of their music later on, this is a fantastic show that shouldn’t be missed
by Piers Torday, directed by Elisabeth Freestone and designed by Tom Piper
All along the backwater,
Through the rushes tall,
Ducks are a-dabbling,
Up tails all!
Wilton’s world premiere of The Wind in the Willows Wilton’s set to open 24 November and runs until 31 December.
A modern-day adaptation of the family favourite The Wind in the Willows set in London, enhanced by the unique magic of Wilton’s Music Hall.
This Christmas, Kenneth Grahame’s compelling TheWind in the Willows is coming to Wilton’s Music Hall, in a brand-new version The Wind in the Willows Wilton’s by acclaimed children’s author Piers Torday that will immerse adults and children (+5 years) into the charming and playful world of Ratty, Mole, Badger and Toad. This festive production, directed by Elisabeth Freestone, will run for a strictly limited seasonal from 24 November 21 to 31 December 2022, bringing this delightful story to life.
Here, in one of London’s most atmospheric spaces, the renowned story is reimagined by Piers Torday and designer Tom Piper for the enchanting Wilton’s; Elizabeth Freestone’s directorship will breathe new life into Grahame’s characters as they romp through London, starting in Hyde Park in the spring and ending in Mole’s home at Christmas, on the way fighting against the money-grabbing weasels with lots of adventures in between with their ferret and stoat accomplices.
The Wind in the Willows Wilton’s is a witty, festive show for all the family, giving the original Edwardian tale a contemporary twist with heroes. Nervous Mole, happy go lucky Rat, outrageous Toad and curmudgeonly Badger have enchanted generations with their enduring friendships and this theme remains particularly relevant in Torday’s adaptation. It sees the famous four tackling climate issues (although Toad seems less keen) and offering a tale of sustainable hope. There will be songs and puppetry, not to mention a picnic or two.
The cast of seasoned actors includes Darrell Brockis [Othello at Southwark Playhouse, The Glass Menagerie at Battersea Arts Centre] as Toad, Eastenders star Melody Brown [Life of Pi at Twisting Yarns, The Firebird at Bolton Octagon] as Badger, Tom Chapman [King John at Rose Theatre Kingston, Lights! Camera! Improvise! at Mischief Theatre] as Weasel, Paula James [A Comedy of Errors at RSC, Hoard: Rediscovered at New Vic & National Theatre] as Duck, Corey Montague-Sholay [Little Revolution and ICU at Almeida Theatre, Carpe Diem at National Theatre] as Mole, Chris Nayak [Macbeth at Shakespeare’s Globe, The Curious Incident of the Dog in the Night-Time at National Theatre] as Otter, Rosie Wyatt [Mogadishu at Lyric Hammersmith, Love, Love, Love at Paines Plough] as Rat.
The Wind in the Willows Wilton’s will feature original live songs by Piers Torday [The Child in the Snow and Box of Delights at Wilton’s Music Hall] and Chris Warner [ITV’s The Ipcress File, Sky History’s The Rise of the Tudors]under the sparkling lighting of award-winning Zoe Spurr [Fantastically Great Women Who Changed the World for UK Tour, She Described It to Death at Royal Opera House] with movement from Emma Brunton [Boris and Sergey II at Pleasance Courtyard, Pages at Pacific Playhouse] and puppetry from Samuel Wyer [The Ocean at the End of the Lane at National Theatre, The Boy in the Dress at RSC].
Torday said of the adaptation:“Wilton’s with its extraordinary history and unique atmospheric backdrop is the most perfect venue to conjure the charm, joy and beauty to bring one of my most favourite books ever, alive on stage.”
RETURNING TO THE TURBINE THEATRE FROM 07 OCTOBER TO 27 NOVEMBER 2022
Back by popular demand, But I’m A Cheerleader: The Musical, which won audiences over with its charm and heart-warming story during its first run in February is back! Casting is yet to be announced, but expect catchy songs, lots of cheers and undeniable fun.
Paul Taylor-Mills & Bill Kenwright, in association with Adam Bialow, by special arrangement with LIONSGATE®are pleased to bring back, But I’m A Cheerleader: The Musical, book and lyrics by Bill Augustin and music by Andrew Abrams, based on the LIONSGATE® motion picture, directed and story by Jamie Babbit and screenplay by Brian Wayne Peterson. First presented as part of MTFestUK 2019, the musical saw its first full staging at TheTurbine Theatre earlier this year and is now back this autumn!
But I’m A Cheerleader: The Musical is the story of Megan, an all-American high school cheerleader who has the perfect life.
That is, until she finds out her friends and family suspect her of being a lesbian and send her packing to ‘True Directions,’ a rehabilitation camp to set her straight. It is at this camp, under the strict tutelage of headmistress Mary Brown that Megan meets Graham, a sexy tomboy who shows her exactly what her ‘true direction’ is. Hilarious, irreverent and full of heart, But I’m A Cheerleader: The Musical is a quirky coming-of-age comedy about sexual awakening and self-realization.
Paul Taylor-Mills, Artistic Director, Turbine Theatre said “Today is a big day for The Turbine Theatre. As we prepare for the West End transfer of My Son’s A Queer (But What Can You Do) to the Garrick Theatre, we keep our foot on the gas at our Battersea base to ensure we remain a vital voice in the development of new work in the UK.
Today we unveil the return of But I’m a Cheerleader: The Musical at The Turbine Theatre. We had an incredible sell-out season earlier this year and learnt a huge amount about the show we’re creating and indeed its audience. We’re committed to creating the best possible version of the show and are thrilled to have an opportunity to present it again this Autumn.”
But I’m A Cheerleader: The Musical, has book and lyrics by Bill Augustin, music by Andrew Abrams and direction by Tania Azevedo. It will run at The Turbine Theatre from 7 October – 27 November, with a Gala Night on 11 October.
THE OLIVIER, WHATSONSTAGE & BROADWAY WORLD ‘BEST NEW MUSICAL’
BACK TO THE FUTURE THE MUSICAL
CELEBRATES 1 YEAR IN LONDON’S WEST END &
EXTENDS PERFORMANCES AT THE ADELPHI THEATRE
NOW BOOKING UNTIL 23 JULY 2023
Due to overwhelming demand, lead producer Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce that BACK TO THE FUTURE The Musical’s performances at the Adelphi Theatre in London’s West End will extend to 23 July 2023 as it celebrates its first Birthday. Tickets on sale 14 September 2022. The critically acclaimed Olivier, WhatsOnStage and Broadway World Award-winning Best New Musical had its opening night in London on Monday 13 September 2021 and will open on Broadway in 2023 with further plans to rollout internationally.
BACK TO THE FUTURE The Musical stars Tony Award-winning Roger Bart and Ben Joyce as ‘Dr Emmett Brown’ and ‘Marty McFly’ respectively, with Amber Davies as ‘Lorraine Baines’, Oliver Nicholas as ‘George McFly’, Jordan Benjamin as ‘Goldie Wilson’, Harry Jobson as ‘Biff Tannen’, Sophie Naglik as ‘Jennifer Parker’, Gary Trainor as ‘Strickland’, Will Haswell as alternate ‘Marty McFly’ and ‘Dave McFly’ and Emma Lloyd as ‘Linda McFly’. Also in the cast are Amy Barker, Simeon Beckett, Sia Dauda, Tyler Davis, Glen Facey, Dylan Gordon-Jones, Adam Margilewski, Cameron McAllister, Alessia McDermott, Bryan Mottram, Laura Mullowney, Anna Murray, Jon Reynolds, Melissa Rose, Georgia Tapp, Justin Thomas, Charley Warburton and Tavio Wright.
The Original Cast Recording, released on Sony Music’s Masterworks Broadway label, is now available and has had over 3 million streams. It features the new music by multi-Grammy Award-winners Alan Silvestri and Glen Ballard alongside classic songs from the movie including The Power of Love and Johnny B. Goode.
BACK TO THE FUTURE The Musical won the Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical. The productions in London and Manchester have so far been seen by half a million people and the musical has broken box office records at the Adelphi Theatre.
Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.
Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Dr Emmett Brown. But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.
BACK TO THE FUTURE The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Tim Lutkin (lighting), Hugh Vanstone (lighting consultant), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod Associates.
Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).
BACK TO THE FUTURE The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Hunter Arnold, Gavin Kalin Productions, Playing Field, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Robert L. Hutt, Universal Theatrical Group, Ricardo Marques, Augury, Robert Zemeckis, Bob Gale, in association with Kimberly Magarro, Stage Entertainment, Glass Half Full Productions/ Neil Gooding Productions.
Website: BackToTheFutureMusical.com
Twitter: @BTTFmusical
Instagram: @BTTFmusical
LISTINGS INFORMATION
BACK TO THE FUTURE The Musical
Adelphi Theatre Strand Covent Garden London WC2R 0NS
Current booking period to 23 July 2023
Performances:
Mondays, Wednesdays – Saturdays at 7.30pm, Thursday & Saturday matinees at 2.30pm, Sundays at 3pm
(Please note, there will be additional matinees at 2.30pm on Friday 21 October, Wednesday 26 October, Tuesday 14 February, Monday 10 April and Monday 29 May. There will be no weekday matinee w/c 10 October and no shows on Monday 31 October, Monday 13 February or Monday 20 February. The show on Monday 1 May will be at 2:30pm)
N.B Sunday 2 October will be an audio described performance and Wednesday 9 November will be a captioned performance. Further access performances will be added in the new booking period. Please keep an eye on the website for more information.
Tickets: from £19.55
Please book via the website: BackToTheFutureMusical.com – no booking fees
Troupe, in association with Park Theatre, today announce the full cast for the world première of Christopher Isherwood’sA SingleMan, in a new adaptation from Simon Reade with direction by Philip Wilson. Theo Fraser Steele leads the cast as George, alongside Freddie Gaminara, Miles Molan, Rachel Pickup and Phoebe Pryce. The production opens in Park200 at Park Theatre on 21 October, with previews from 19 October, and runs until 26 November.
Troupe
in association with Park Theatre presents
the world première of a new adaptation of
A SINGLE MAN
Based on the book by CHRISTOPHER ISHERWOOD
Adapted by SIMON READE
19 October – 26 November 2022
Director: Philip Wilson; Set and Costume Designer: Caitlin Abbott;Lighting Designer: Peter Harrison;
Sound Designer and Composer: Beth Duke; Movement Director: Natasha Harrison
“I make myself remember. I am afraid of forgetting. I will have to forget if I want to go on living.”
California, 1962. College professor George is grieving the death of his long-term partner Jim. As a middle-aged gay Englishman living in the Los Angeles suburbs, he is an outsider in every way. Haunted by his past and unable to move forward, we follow him on one very ordinary day. But for George, this is going to be a day like no other…
A Single Man features in the Guardian’s 100 Best Novels Written in English, where it is described as “a work of compressed brilliance”. Known to many through Tom Ford’s film, Christopher Isherwood’s masterpiece is now given a wry and compassionate retelling in Simon Reade’s new adaptation for the stage.
Powerful and sexy, A Single Man is a darkly amusing study of grief, love and loneliness from the celebrated writer of Goodbye to Berlin, the inspiration for Cabaret.
Theo Fraser Steele plays George. He will soon be seen in the new series of The Crown as Timothy Laurence. For theatre, his credits include This Island’s Mine (King’s Head Theatre), Don Quixote (RSC/Garrick Theatre), Jeeves and Wooster in Perfect Nonsense, Sense and Sensibility, Single Spies (Theatre by the Lake), Doctor Faustus, The Alchemist, Tamburlaine The Great (RSC), Woman in Mind (Salisbury Playhouse), Bloody Sunday (Scenes from the Saville Inquiry) (Tricycle Theatre), Guantanamo ‘Honour Bound to Defend Freedom’ (Tricycle Theatre/Ambassadors Theatre), The Drowned World (Traverse Theatre/Bush Theatre), Outside Now, The Moment Is A Gift That’s Why it’s Called The Present (Paines Plough), The Importance of Being Earnest (Australian tour/Savoy Theatre), Skylight (National Theatre/Vaudeville Theatre), The Shallow End (Royal Court/Duke of York’s Theatre), A Week With Tony (Finborough Theatre) and Amphitryon (Gate Theatre). For television, his credits include Grantchester, Victoria, Genie in the House, The Thick of It, My Family, Keen Eddie, Hex, Close and True, A Christmas Carol, Shockers: The Visitor and The Prince of Hearts; and for film: The Golden Compass, Mad About Mambo, Before You Go and Mrs Brown.
Freddie Gaminara plays Male Paramedic/Mr Strunk/Alex/Nurse/Bartender. For theatre, his credits include Light Falls (Royal Exchange Theatre, Manchester); and for film: Red Joan and Brighton.
Miles Molan makes his professional debut as Kenny/Jim.
Rachel Pickup plays Charley. For theatre, her credits include Still Life (The Mill at Sonning), The Tempest, The Odyssey, For Services Rendered, Barefoot in the Park (Jermyn Street Theatre), Bedroom Farce (Rose Theatre, Kingston/Duke of York’s Theatre), Miss Julie, Love’s Labour’s Lost (Rose Theatre, Kingston), The 39 Steps (Criterion Theatre), A Midsummer Night’s Dream, Troilus and Cressida, The Two Gentlemen of Verona, Dr Foster, Paradox (RSC), Julius Caesar (RSC/Lyric Hammersmith), Hamlet (Birmingham Rep/EIF), King Lear (The Old Vic/UK tour), The Fall Guy, Time and the Conways (Royal Exchange Theatre, Manchester), The Sea, Fortune’s Fool (Minerva Theatre, Chichester/UK tour), Twelfth Night (Theatr Clwyd), Home Truths, The Three Sisters (Birmingham Rep), All’s Well That Ends Well (Oxford Stage Company), Way Upstream (Crucible Theatre, Sheffield), Present Laughter (St. James Theatre, New York), The Merchant of Venice (Lincoln Center Festival, New York/Shakespeare’s Globe/international tour), London Assurance, The Home Place, Breath, Play, Act Without Words, Dancing at Lughnasa, Airswimming (Irish Repertory Theatre, New York), Private Lives (Hartford Stage), King Lear (Theatre for a New Audience, New York), The Explorers’ Club (Manhattan Theatre Club, New York), Twelfth Night (Folger Theatre, Washington) and An Ideal Husband (Washington Shakespeare Theatre). For television, her credits include Sister Boniface Mysteries, The Beast Must Die, Grantchester, Madam Secretary, Elementary, Dietland, 50 Ways to Kill Your Lover, House of Anubis, Garrow’s Law, Small Island, Dogtown, Victoria and Albert, No Bananas, Jeffrey Archer: The Truth, Coupling and Relic Hunter; and for film: Wonder Woman, Schadenfreude, Chronic, AKA and Basil.
Phoebe Pryce plays Female Paramedic/Mrs Strunk/Maria/Doris. For theatre, her credits include: The False Servant (Orange Tree Theatre), The Night Watch, The Picture of Dorian Gray (UK tours), Cash Cow (Hampstead Theatre), About Leo (Jermyn Street Theatre), A Passage to India (Park Theatre/UK tour), The Tenant of Wildfell Hall (Octagon Theatre, Bolton/York Theatre Royal), The Merchant of Venice (Lincoln Center Festival, New York/Shakespeare’s Globe/international tour) and The Tempest (Shakespeare’s Globe).
Christopher Isherwood (1904-1986) was among the most celebrated writers of his generation. He left Cambridge without graduating, worked as a tutor and a secretary, briefly studied medicine and then published his first novels, All the Conspirators and The Memorial. Between 1929 and 1939, he lived mainly abroad, including four years in Berlin, which inspired his novels Mr. Norris Changes Trains and Goodbye to Berlin, on which the musical Cabaret is based. He also wrote four plays and a travel book with the poet W. H. Auden. In 1939, Isherwood moved to America, where he settled in Hollywood, became a Hindu and wrote for the film studios. He took US citizenship in 1946. In America, he wrote five more novels, including Prater Violet, Down There on a Visit and A Single Man, and kept prodigious diaries. He collaborated with his spiritual teacher Swami Prabhavananda on a translation of the Bhagavad Gita and produced another travel book and a biography of the Indian mystic Ramakrishna. In the late 1960s, he turned to autobiography; in Kathleen and Frank, Christopher and His Kind and My Guru and His Disciple, Isherwood openly articulated the gay identity he had only implied in his fiction. Amongst his last work is October, one month of his diary with drawings by his partner from 1953 onward, American painter Don Bachardy.
Simon Reade’s work for theatre includes Private Peaceful (US tour/UK tour), David Copperfield (Barn Theatre, Cirencester), An Elephant in the Garden (Poonamallee Productions), A PureWoman (Dorchester Arts), Sherlock Holmes: The Final Curtain, A Room with a View, Moon Tiger (Theatre Royal Bath/UK tours), Bliss/Mutluluk (Arcola Theatre), Pride and Prejudice (UK tour), Twist of Gold (Polka Theatre), Strindberg’s Apartment (New Diorama Theatre), Toro! Toro! (Salisbury Playhouse), Midnight’s Children (RSC/Theater Trier), The Scarecrow and His Servant (Southwark Playhouse), Not the End of the World, The Mozart Question, Aladdin and the Enchanted Lamp, The Owl Who Was Afraid of the Dark (Bristol Old Vic), Alice’s Adventures in Wonderland (TMA Award, Bristol Old Vic/Polka Theatre), Epitaph for the Official Secrets Act (RSC), and Tales from Ovid (RSC/Young Vic). Film and television credits include: Journey’s End, Private Peaceful and What You Will. Books include Dear Mr. Shakespeare: Letters to a Jobbing Playwright and Cheek by Jowl. He was previously Literary Manager at the Gate Theatre and the RSC, Artistic Director at Bristol Old Vic, Producer at Theatre Royal Bath Productions and Filter Theatre and Development Producer at BBC Television, Tiger Aspect Productions and Stolen Picture.
Director Philip Wilson’s work in theatre includesStarcrossed (Wilton’s Music Hall), The Boy with the Bee Jar (Hope Theatre), Perfect Nonsense,After the Dance (Theatre by the Lake), The Star, The Norman Conquests, Noises Off, Doctor Faustus, The Astonished Heart,Still Life (Liverpool Playhouse), As You Like It (Storyhouse, Chester), Beacons (Park Theatre), his own adaptations of Philip Pullman’s Grimm Tales (Oxo Tower Bargehouse/Shoreditch Town Hall), The Three Lions (St. James Theatre/UK tour), How Many Miles to Babylon? (Lyric Theatre, Belfast), Toro! Toro! (UK tour), Twist of Gold(Polka Theatre),Sixty-Six Books (Bush Theatre/Westminster Abbey), The Importance of Being Earnest, Travesties (Birmingham Rep), If Love Were All, In Praise of Love (Minerva Theatre, Chichester), The Found Man (Traverse Theatre, Edinburgh), Un Uomo Trovato (Teatro della Limonaia, Florence), Ain’t Misbehavin’ (Sheffield Theatres) and Breaking the Code (Northampton Theatre Royal). He was Artistic Director of Salisbury Playhouse from 2007-2011 where he directed The Game of Love and Chance, The Constant Wife, The Picture, Private Lives, Arsenic and Old Lace, The Winslow Boy, his own adaptation of J. L. Carr’s A Month in the Country, What the Butler Saw, People at Sea, Alphabetical Order and Corpse!; and directed and designed Blackbird, Faith Healer and Toro! Toro! – TMA Award nomination.
LIVERPOOL THEATRE FESTIVAL, BOMBED OUT CHURCH, LIVERPOOL – 11TH SEPTEMBER 2022
REVIEWED BY MIA BOWEN
4****
After returning for a third consecutive year, the Liverpool Theatre Festival ended with a big splash last night! Written and performed by Paulus, The Cabaret Geek and featuring Michael Roulston as the musical director, Looking For Me Friend is a charming, funny and touching tribute to the late great Victoria Wood. The audience sat in the pouring rain, all wearing ponchos (one of Wood’s favourite words), very British, just like a Wood sketch, reminiscing the Queen of Comedy.
Currently celebrating 30 years in entertainment, Paulus is best known as the sharp and forthright judge on BBC One’s talent show, All Together Now. He admitted that Wood’s skills in observational comedy and satirising aspects of social class, was an early influence on his own career. Much of Wood’s humour was grounded in everyday life and included references to activities, attitudes and products that are considered to exemplify Britain. It was in fact a ‘one liner’ from Wood that introduced Paulus and Roulston, and together they would quote snatches of classic lines from Victoria Wood: As Seen On TV, comedy series. Paulus also recalled how when he was struggling for work as a young actor, he wrote to several celebrities for help and advice and Wood send him £50, which he spend on Christmas decorations!
This show was so much more then a tribute show; it was kind, pleasant and very funny. Through Paulus’s interpretation of Wood’s songs; It Would Never Have Worked, Reincarnation and The Ballad of Barry and Freda (Let’s Do It), blended with autobiography and theatrical entertainment, we are reminded that Victoria Wood was indeed a National Treasure.
Paulus and Roulston together on stage prove that it takes two men to do the work of one woman!
This evening performance is started with a minute’s silence and the playing of the national anthem as a mark of respect with the sad passing of HM The Queen.
Northern Ballet brings Made in Leeds: Three Short Ballets to the Leeds Playhouse which features a trio of works by three choreographers. The choreographers explore the human condition and emotions, and they choreograph the storytelling on stage. The stories that are told differ greatly however the humanity themes remain the same.
The programme starts with Mthuthuzeli November’s Wailers. The work relates to the choreographer’s personal experiences and hardships growing up in a small South African town with the focus on giving thanks to life and to people, past and present, being part of it. The movement, dancing and recital in the programme are set to the choreographer’s musical composition. These are emphasised along with endurances and resilience and the eventual conquest of dealing with the hardships. The music, staging and costumes, courtesy of November, Yann Seabra and Steve Wilkins, is colourful and African themed with intimate and universal dancing that reflects the changing human condition and various emotions.
The second work of the evening is Stina Quagebeur’s Nostalgia and set to Jeremy Birchall’s music. Quagebeur’s work focuses on bittersweet emotions and the condition of the human brain. The dancing interprets joy, longing and awareness from the past which formed memories and motivation for continuation. However, Nostalgia reminds how one’s memories can be clouded with pain and darkness. The importance of remembering the happy memories and recognising the unhappy ones as a motive for moving forward is remembered.
The final work is Ma Vie Live. Dickson Mbi’s work explores Giacomo Casanova and his human condition. This includes his passion for love, his estranged relationship with the church and undoubtedly his life downfall which is movingly danced and interrupted by the dancers. The visual pleasing atmospheric story is melancholy performed to Roger Goula ingenious and catchy score and Mbi’s is choreographically supported by Kenny Ho. This work is undoubtedly one of the programme’s highlights and it is evident how well received Ma Vie Live is.
Everyone resonates with the programme and shares how complex and fragile the human condition and emotions are. No doubt this is true particularly with the recent national events and the many individual and personal human experiences many have whether happy or sad. Made in Leeds: Three Short Ballets is humanly moving, stirring and unique and well put together by the Northern Ballet dancers and creators.
HMS Pinafore (1878), a Comic Opera which gave Gilbert &Sullivan their first international hit, is set aboard ship where the Captain’s daughter loves a lowly sailor, Ralph. Her father has other ideas, namely the First Lord of the Admiralty. Although Josephine tries to appease her father, it’s not long before she and Ralph declare their love and hatch an elopement plan… Like several other Gilbert &Sullivan Operettas, the theme is social conventions and love across the classes.
Opening in surprising (and pleasing) fashion with the musicians on stage dressed as sailors (all the nice girls may love a sailor but I’m a sucker for watching musicians play), during the overture the cast quite literally made the set ship shape (or “ship shaped” since they assembled it before our eyes). An ingenious opening as it also introduced us to the dramatis personae so by the first song proper we were already acquainted with all concerned.
Every Gilbert &Sullivan Operetta has at least one hit known by all and this one has “I’m called Little Buttercup” sung wonderfully by Louise Crane who returns to equally good effect as Sir Joseph’s sister.
Our leading love interests, Ralph Rackstraw (Tim Walton) and Josephine (Georgina Stalbow) made a handsome and believable couple. Both have wonderful singing voices with great range and expression; equally affecting during the quiet passages as they were the soaring high notes.
Captain Corcoran (Matthew Siveter) was a hoot. Whether attempting to control his exasperation as his plans for Josephine unravelled or to keep his upper lip British stiff, his portrayal was an unalloyed triumph. I particularly enjoyed the “never… well, hardly ever” ongoing joke that was still doing the rounds 80 years later with Elvis in Blue Hawaii (proving the ongoing influence of Gilbert’s humour).
Sir Joseph Porter, KCB (Paul Featherstone) was hilarious from his first appearance. His drinking during “When I was a lad” had us in stitches. There’s nothing quite as funny as a jolly song and jig outstaying it’s welcome and his increasing frustration and reactions during the never-ending reprises of “Never mind the why and wherefore” was a doozy! Fantastic.
Ian Belsey gave us two memorable characters in Dick Deadeye (dastardly scoundrel of the piece) and Sir Joseph’s Aunt. I’m not sure who was enjoying his being a lady more, us or him, but I for one was loving it. Cousin Hebe (Lynsey Docherty) was wonderfully snooty but also stole our heart with some lovely asides (or is that out front’s?) with the word “Crushed!” which she employed to great effect.
So we were carried along on waves of emotion, towards the final rousing chorus and dance where all find love and even little Buttercup is redeemed. If only everything in life were so neatly wrapped up to everyone’s satisfaction.
I shall nail my colours to the mast and declare that I absolutely loved this show – wonderful tunes, fantastic comedic acting, pathos, a hissable villain, love triumphing and some seamen right out of the Carry Ons. This show ought to be prescribed on the NHS! Simply perfect from the Opera Della Luna company.
