This feel-good musical returns to the Sheffield Lyceum on its current UK tour. The multi award-winning West End show, has been on the go for the last 34 years and has proved to entertain audiences consistently throughout, with a total of 10,490 UK performances! Like Buddy Hollys songs, this production has shown great staying power and when you are lucky enough to sit through this beauty, it is no surprise why.
You are taken on a journey through the years of Buddy Hollys short life, starting right at the beginning with his Texas rockabilly days. We see how he catapults quickly into fame and success due to his incredible talent and dedication. The key moments that sent his career into such a ripping success, are all marked out on the stage for us to see. Including the comical first entrance onto the Apollo stage.
Don’t expect too much drama or even anything gripping, as due to his such short years with his life ending at 22, there wasn’t much to report! This is more of a concert feeling show and is a showcase of his wonderful songs. But do expect lots of superb music, jaw dropping guitar, bass, drums and saxophone playing. The band really does make this production what it is, from Christopher Weeks playing his guitar behind his head for a minute or so impeccable at the end, to just how perfect the rest of the musicians are. Great chemistry and charisma from all the musicians, a special mention to the bass player (Joe Butcher) for his stage presence, he’s quite the star.
Christopher Weeks is perfectly cast as Buddy and looks like he is having the time of his life on the stage. His energy and accuracy of Buddys charming and sweet character and voice are so well-matched. What a talent. Laura-Dene Perryman really stood out as a bit of a star of the show, and it was hard to take your eyes off her with how well she was performing. Such a fantastic voice in her part of the duet of ‘Shout’.
The story also covers the other musicians that lost their lives on that awful day, in the form of The Big Bopper (Christopher Chandler) and Ritchie Valens (Miguel Angel). These both handle their solo numbers with gust and what energy they brought to the auditorium, especially with La Bamba – the audience went wild.
Whether you are a Buddy fan or not, it is almost impossible to not tap your feet to these super catchy, popular masterpieces. A real uplifting (albeit sad) musical with some special moments, by an enormously talented cast.
MGC today announces the world première of Marcelo Dos Santos’ new play Backstairs Billy which looks at a pivotal moment in the 50 year relationship between the Queen Mother and her loyal servant William “Billy” Tallon. Michael Grandage directs Penelope Wilton as the Queen Mother and Luke Evans as Billy, with further casting to be announced shortly. The production opens at the Duke of York’s Theatre on 7 November, with previews from 27 October, and runs until 27 January. Public booking for the production opens today.
In the company’s continued commitment to providing access for all in the West End, there will be £10 tickets available at every performance across the run. For further information, and to register for the initiative: www.michaelgrandagecompany.com. Since MGC’s creation in 2011 the company has led the way in defining a cheaper seat policy across the West End, prioritising accessibility, and to enable as wide and diverse audience as possible to experience West End Theatre.
Michael Grandage said today “It is always a great moment to celebrate the birth of a new comedy in the West End and particularly from an important new voice such as Marcelo Dos Santos. I am thrilled to be working again with Penelope Wilton and Luke Evans alongside a cast of twelve other actors as we bring an exciting new play to the stage this autumn and over the Christmas period ahead.”
The production reunites Grandage with Wilton – they previously collaborated on productions of The Chalk Garden, John Gabriel Borkman and Hamlet; and with Evans who performed at the Donmar twice under Grandage’s Artistic directorship, in Small Change and Piaf. Also, Marcelo Dos Santos was an MGCfutures Bursary recipient from 2019 – a charity established by Grandage to support theatre makers across all aspects of the industry. Following their introduction via the bursary programme, MGC commissioned Dos Santos to write Backstairs Billy.
Director: Michael Grandage; Set Designer: Christopher Oram;
Costume Designers: Christopher Oram and Tom Rand; Lighting Designer: Ryan Day;
Music and Sound designer: Adam Cork;Wigs, Hair & Makeup Designer: Carole Hancock;
Casting Director: Jacob Sparrow;Associate Director: Sophie Drake; Costume Supervisor: Mary Charlton
Set in 1979, when strikes are bringing the country to its knees and Britain is about to seismically change under Margaret Thatcher, it is business as usual for the Queen Mother and her loyal servant Billy inside Clarence House. Receptions are in full swing and the champagne is flowing as the two worlds start to collide with dizzying consequences.
Marcelo Dos Santos is an award-winning Latinx British-Brazilian-Australian writer. His play Feeling Afraid as If Something Terrible is Going to Happen (Francesca Moody Productions)won a Fringe First Award at the Edinburgh Festival Fringe in 2022, and transfers to the Bush Theatre with Samuel Barnett in November. Other work includes Lionboy (Complicité, UK & New York & International tour), Subverts (Royal Court Theatre – as part of Living Newspaper), Trigger Warning (co-creator, Camden People’s Theatre – recipient of the Jerwood Home Run Award Commission), The End of History (High Hearted Theatre & Soho Theatre at St Giles in the Fields Church), New Labour (RADA),Cheer Up is Only the Beginning (co-writer, Liverpool Playhouse), Lovers Walk (co-writer Southwark Playhouse).
Penelope Wilton plays the Queen Mother. For theatre, her work includes Taken at Midnight – Olivier Award for Best Actress (Chichester Festival Theatre and Theatre Royal Haymarket), A Delicate Balance, Heartbreak House (Almeida Theatre), Hamlet (Donmar West End), The Family Reunion, The Chalk Garden (Evening Standard Award for Best Actress), John Gabriel Borkman, The Little Foxes, The Collection, The Lover, A Kind of Alaska (Donmar Warehouse) Women Beware Women (RSC), The House of Bernada Alba, Tess, The Secret Rapture, Betrayal (National Theatre), The Seagull (Barbican) and Long Day’s Journey Into Night (Young Vic). For television, her work includes Downtown Abbey (as series regular Isobel Crawley), as widower Anne in Ricky Gervais’ award-winning After Life, Brief Encounters, South Riding, Margot, Doctor Who, The Passion, Half Broken Things, Five Days, Celebration, Falling, Lucky Jim, Bob and Rose, Victoria and Albert, The Whistle-Blower, Wives and Daughters, Alice Through the Looking Glass, Talking Heads, The Borrowers and Ever Decreasing Circles; and for film, The Unlikely Pilgrimage of Harold Fry, Zoo, The BFG, The Best Exotic Marigold Hotel 2, Belle, The Best Exotic Marigold Hotel, The History Boys, Pride and Prejudice, Match Point, Shaun of the Dead, Iris, Calendar Girls, Tom’s Midnight Garden, Carrington, The Secret Rapture, Blame it on the Bellboy, Cry Freedom, Clockwise, The French Lieutenant’s Woman, and the Downton Abbey films.
Luke Evans plays Billy. He returns to the stage for first time in over fifteen years. He previously appeared at the Donmar Warehouse in Piaf and Small Change, under Grandage’s tenure as Artistic Director. For television, his work includes Echo 3, Nine Perfect Strangers, Pembrokeshire Murders, The Angel of Darkness, The Grand Tour, The Alienist, and The Great Train Robbery; and for film, Good Grief, Our Son, Pinocchio, Crisis, Murder Mystery, Angel of Mine, Midway, Anna, MA, State Like Sleep, 10 X 10, The Fate of the Furious, Beauty and the Beast, Professor Marston and The Wonder Woman, The Girl on the Train, Message from the King, Hugh Rise, Fast & Furious 7, Dracula Untold, The Hobbit – The Desolation of Smaug, Fast & Furious 6, The Hobbit – There and Back Again, The Hobbit – An Unexpected Journey, No One Lives, The Raven and The Three Musketeers.
Michael Grandage is Artistic Director of the Michael Grandage Company (MGC) where for theatre he has directed Emma Corrin in Orlando (Garrick Theatre), Dawn French in Dawn French is a Huge Tw*t (UK tour and The Palladium), Ian McDiarmid in The Lemon Table (UK Tour), Aidan Turner in The Lieutenant of Inishmore (Noël Coward Theatre), Alfred Molina and Alfred Enoch in Red (Wyndham’s Theatre), Nicole Kidman in Photograph 51 (Noël Coward Theatre), Dawn French: 30 Million Minutes (national and international tour and West End), Jude Law in Henry V, David Walliams and Sheridan Smith in A Midsummer Night’s Dream, Daniel Radcliffe in The Cripple of Inishmaan, Judi Dench and Ben Whishaw in Peter and Alice and Simon Russell Beale in Privates on Parade as part of the season at the Noël Coward Theatre. His film work for MGC includes My Policeman (2022) starring Harry Styles, Emma Corrin, Gina McKee, Linus Roache, David Dawson and Rupert Everett, and Genius (2016) starring Colin Firth, Jude Law, Nicole Kidman, and Laura Linney. His opera work includes Madama Butterfly for Houston Grand Opera and Chicago Lyric Opera, Le Nozzi de Figarofor Glyndebourne and Houston, Don Giovannifor the Met and Billy Budd for San Francisco, Glyndebourne and BAM in New York. He was Artistic Director of the Donmar Warehouse (2002–2012) and Sheffield Theatres (2000-2005) where his work included Chiwetel Ejiofor in Othello, Frank Langella and Michael Sheen in Frost/Nixon, Derek Jacobi in King Lear, Eddie Redmayne and Alfred Molina in Red (Tony Award for Best Director), Jude Law in Hamlet and Kenneth Branagh in Ivanov. He won three Olivier Awards for his musical productions of Guys and Dolls, Merrily We Roll Along and Grand Hotel. His production of Disney’s Frozen – The Musical is currently running at the Theatre Royal Drury Lane. He was President of the Royal Central School of Speech and Drama from 2010 to 2022 and is currently President of the Morrab Library. He was appointed CBE in the Queen’s Birthday Honours 2011. His book, A Decade At The Donmar, was published by Constable & Robins in 2012. His charity, set up to help young theatre makers, can be found at www.mgcfutures.com.
HOPE MILL THEATRE, MANCHESTER – UNTIL SATURDAY 8TH JULY 2023
REVIEWED BY ZOE BROWN
4****
Philip Ridley’s powerful play is about ‘how we manipulate our memories of the past to shape the story of our lives’. As Director, Max Harrison, insightfully writes ‘Right now – it feels more relevant than ever’, referencing high-profile names we see in the media pushing ‘their truth’ and ‘recollections may vary’ of truth, in a bid to control the narrative.
Ridley’s ability to encapsulate such universal themes within the life of an everyday East End family leaves you bewildered and emotionally shell shocked. This play covers many difficult subjects matters, with reference to suicide, domestic violence and allusions to child abuse.
Brace yourselves, and if you can stomach the content, this is a production well worth the watch. Bringing into focus, family secrets and the lies we tell ourselves and each other to keep from descending into depression (as matriarch Liz called it a ‘fluey bug thing’ that ‘we never talked about once it was over: What was the point?’) Whilst this content is disturbing it is well worth confronting and exploring as a society. Yes, it’s brutal – however it’s superbly written and performed; a rhythmic piece of drama whose pace and tension builds and builds until a crescendo in the third act with heartbreaking effect.
These are indeed all fine Actors. To carry the weight of this story is no mean feat (a whole 1 hour 45 mins, no interval). Ned Costello as Steven is a powerhouse. His journey into and out of descent was masterful. One to watch in my book. Joseph Potter as his traumatised younger brother Barry was engaging throughout. Katie Buchholz as wife Debbie was strong, dynamic and witty. Kacey Ainsworth as mother Liz, a fine established actor whose experience shone through, finding the perfect balance of powerful demanding matriarch and broken grieving mother.
The minimalist black staging and seamless transitions made this a slick production. However, the seating arrangement left me feeling a tad too exposed. Staged in a hybrid of thrust and raised proscenium seating, it felt strange to be one of those seated stage left and so close to the actors you almost felt you were in the room with them. Ordinarily I love being close, but when the studio lighting encompasses those of us near to the action, you feel very much on display for the rest of the audience. At one point I jumped in my skin as the scarily confident ‘Steven’ stared directly into my soul.
Also, the choice to perform so much of the cellar scene in darkness meant the scene felt too long and we were robbed of the ability to see how the actors were reacting to each other.
Lidless Theatre’s focus on making ‘raw and emotionally impactful theatre through shared human experience’ is indeed vital theatre. Rightfully explored at a pivotal moment in our society’s history.
GARDENS FIT FOR A QUEEN (OR SIX) – THE WEST END COMPANY OF SIX AT THE RHS HAMPTON COURT PALACE GARDEN FESTIVAL 2023
The West End company of smash-hit global musical phenomenon Six today visited the RHS Hampton Court Palace Garden Festival 2023, where they were crowned with specially created floral creations from Flowers from the Farm, the not-for-profit membership organisation championing nearly 1000 independent artisan growers of British cut flowers across the UK, and photographed in front of the beautiful RHS Letters, designed by Leigh Chappell Flowers.
Cast members Rhianne-Louise McCaulsky, Baylie Carson, Leah Vassell, Monique Ashe-Palmer, Koko Basigara, and Roxanne Couch visited the iconic 31-acre site in the grounds of Hampton Court Palace, and enjoyed visiting some of the 39 gardens, allotments and Sensory Pocket Planting beds which have been designed and created for the 2023 Festival, which celebrates its 30th anniversary this year, and runs until 9 July.
Winner of two 2022 Tony Awards, a Whatsonstage award, and nominated for five Olivier awards, SIXcan also be seen live on stage worldwide: on Broadway at the Lena Horne Theatre in New York, across the UK on its current sell-out, record-breaking tour, with two concurrent North American tours, a recent Australian tour and production in South Korea, and forthcoming productions in Holland and Canada.
SIX is written by Toby Marlow and Lucy Moss, with Direction by Lucy Moss and Jamie, with Armitage, choreography by Carrie-Anne Ingrouille, set design by Emma Bailey, costume design by Gabriella Slade, lighting design by Tim Deiling, sound design by Paul Gatehouse, musical orchestration by Tom Curran, musical supervisor Joe Beighton.
Think you know the six Wives of Henry VIII? Think again…
Prepare to lose your head and experience the Tudor Wives’ lives as they turn back the clock and take to the stage to reclaim their crowns and retell their stories of love, loss and the infamous ex they all have in common.
Join Aragon, Boleyn, Seymour, Cleves, Howard and Parr, backed by their fiercely all-female band,
the Ladies in Waiting, and Get Down to a royal retelling of the sassiest story in British Her-story.
Kenny Wax Family Entertainment, in association with MAST Mayflower Studios UK tour dates announced for award-winning empowering pop musical Fantastically Great Women Who Changed the World Thursday 30th November 2023 – Sunday 3rd March 2024
Fantastically Great Women Who Changed the World, winner of the UK Theatre Award, is heading out on a major UK tour. It opens at Wimbledon New Theatre in November before returning to The Lowry for a Christmas season with further touring in 2024. This empowering pop musical, from one of the producers of worldwide sensation SIX, is based on the popular book by Suffragette relative Kate Pankhurst, and has grown to delight and inspire audiences of all ages across the country.
Following a hit run at Edinburgh Fringe Festival 2022 and a hugely successful 2021-22 tour, the critically acclaimed Fantastically Great Women Who Changed the World is bringing back its aweinspiring characters, catchy pop soundtrack and TikTok-favourite choreography this winter. The show will play at Wimbledon New Theatre; The Lowry in Salford, Greater Manchester; Wales Millennium Centre, Cardiff; Milton Keynes Theatre; Belgrade Theatre, Coventry; and Newcastle Theatre Royal. Audiences who can’t wait until then can download the toe-tapping, fistpumping, sing-along-worthy pop soundtrack on Spotify, Apple Music and Amazon
Remarkable – and often forgotten – women from history are lifted from the pages of Kate Pankhurst’s beloved picture book and brought gloriously to life on stage. These inspirational women show audiences of all ages how we can change the world no matter who we are, including Rosa Parks, Amelia Earhart, Marie Curie, Mary Seacole, Frida Kahlo, Jane Austen and Pankhurst’s own relative Emmeline. When inquisitive heroine Jade breaks away from her school trip to the local museum to peek at the Gallery of Greatness, she meets iconic women from the past, whose actions and lives changed the world as we know it, including explorers, scientists, artists and secret agents. This enthralling, heartwarming musical is full of incredible characters, inspirational moments and a soundtrack that packs a popstar punch.
The creative team behind this uplifting stage show consists of renowned dramatist Chris Bush (multiple Olivier Award-winning Standing at the Sky’s Edge, National Theatre; Faustus: That Damned Woman, Headlong); with music by UK No.1 hit songwriter Miranda Cooper (Girls Aloud; Sugababes; Kylie Minogue), whose songs include Sound of the Underground, Round Round and The Promise; and Jennifer Decilveo (Miley Cyrus; Ben Platt) and live arrangements by Jen Green (Beverley Knight; Pixie Lott). The director is Amy Hodge (Mr Gum and The Dancing Bear – The Musical!, the National Theatre), designer Joanna Scotcher (Emilia, Shakespeare’s Globe/Vaudeville Theatre), choreographer Dannielle ‘Rhimes’ Lecointe (Dick Whittington, the National Theatre), lighting designer Zoe Spurr (Emilia, Shakespeare’s Globe/Vaudeville Theatre), sound designer Carolyn Downing (Summer & Smoke, Almeida/Duke of York’s Theatre) and cosound designer Rob Bettle (Frozen: The Musical, Theatre Royal Drury Lane; Billy Elliott, UK tour; One Man, Two Guvnors, Theatre Royal Haymarket).
Past praise for Fantastically Great Women Who Changed the World:
A pop-fuelled, upbeat feminist hit – ★ ★ ★ ★ The Times
A high voltage show with great charisma… a zippy guide to the great women of history that sets toes tapping and young minds alight – The Guardian
Incredibly inspirational, a battle call to women everywhere – ★ ★ ★ ★ Liverpool Echo
This new British musical has all the energy of a girl band concert and enough history to inspire young people – ★ ★ ★ ★ Evening Standard
A celebration of girl power over the centuries… I’m still singing – ★ ★ ★ ★ Daily Mail
Owain Arthur will play the role of Nathan Detroit in Nicholas Hytner’s critically acclaimed immersive production of Guys & Dolls. Arthur will have his first performance on 17 July 2023 replacing Daniel Mays, who will return to the role on 16 October.
Owain Arthur joins the cast which comprises Cedric Neal (Nicely-Nicely Johnson), Andrew Richardson (Sky Masterson), Celinde Schoenmaker (Sarah Brown) and Marisha Wallace (Miss Adelaide). Also appearing are Jordan Castle (Harry the Horse), Cornelius Clarke (Lieutenant Brannigan), Cameron Johnson (Big Jule), Anthony O’Donnell (Arvide Abernathy), Mark Oxtoby (Benny Southstreet), Ryan Pidgen (Rusty Charlie) and Katy Secombe (General Cartwright). Completing the cast are Iroy Abesamis,Simon Anthony, Lydia Bannister, Kathryn Barnes, Callum Bell, Cindy Belliot, Petrelle Dias, Ike Fallon, Leslie Garcia Bowman, George Ioannides, Robbie McMillan, Perry O’Dea, James Revell, Charlotte Scott, Tinovimbanashe Sibanda, Isabel Snaas, Sasha Wareham and Dale White in the ensemble.
Arthur continues his collaboration with Nicholas Hytner having previously performed in the West End run and international tour of One Man, Two Guvnors, leading the cast as Francis Henshall, and The History Boys at the National Theatre. His other theatre credits include Romeo and Juliet for the RSC, Birdsong at Harold Pinter Theatre and The Comedy of Errors for Manchester Royal Exchange. On television his credits include Lord of the Rings: The Rings of Power, London Kills, A Confession, Hard Sun,Death in Paradise, Hinterland and Babylon. On film he has been in Coffee Wars, The One and Only Ivan, White Island, Willkommen im Krieg, Eldra, Mr Nice and The Patrol.
Nicholas Hytner said “I’m delighted that Owain Arthur will be joining the company of Guys & Dolls. He was outstanding in One Man, Two Guvnors and he promises to be a tremendous Nathan Detroit.”
Guys & Dolls– a musical fable of Broadway, based on the story and characters of Damon Runyon – opened on 14 March 2023, marking Hytner’s first musical presented at The Bridge.
The Bridge transforms for one of the greatest musicals of all time. It has more hit songs, more laughs and more romance than any show ever written. The seating is wrapped around the action while the immersive tickets transport you to the streets of Manhattan and the bars of Havana in the unlikeliest of love stories. Join us on Broadway for the explosion of joy that is Guys & Dolls.
Guys & Dolls has music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows, with – choreography by Arlene Phillips with James Cousins, musical supervision and arrangements by Tom Brady, set by Bunny Christie, costumes by Bunny Christie and Deborah Andrews,lighting by Paule Constable, sound by Paul Arditti, orchestrations by Charlie Rosen, associate direction by James Cousins, and casting by Charlotte Sutton.
Guys & Dollsis booking at the Bridge Theatre until 24 February 2024
London Theatre Company Bridge Theatre
LISTINGS INFORMATION FOR THE BRIDGE THEATRE
Address: Bridge Theatre, 3 Potters Fields Park, London, SE1 2SG
The Almeida Theatre announces the full cast for the world premiere of Sam Holcroft’s A Mirror.
Joining the previously announced Jonny Lee Miller, Tanya Reynolds and Micheal Wardare Sara Houghton, Aaron Neil, Geoffrey Streatfeild and musician Miriam Wakeling.
Jeremy Herrin directs Sam Holcroft’s new play A Mirror,interrogating censorship and free speech. The production opens on Wednesday 23 August, with previews from Tuesday 15 August, and runs until Saturday 23 September.
World Premiere
A MIRROR by Sam Holcroft
Director: Jeremy Herrin;Set and CostumeDesigner: Max Jones;Lighting Designer: Azusa Ono;Composer and Sound Designer: Nick Powell;Casting Director: Jessica Ronane CDG; Fight Director: Jonathan Holby
Tuesday 15 August – Saturday 23 September 2023
“I do solemnly declare, of my own accord and without coercion, according to the constitution of this country, and the oath I have sworn to its people and its leadership, that I know not of any lawful impediment why I Joel may not be joined in marriage to Leyla.”
With great pleasure Leyla and Joel invite you to celebrate their marriage. Dress code is smart casual. Doors at 7.30pm, followed by the exchange of vows. And at the signal, the entertainment will begin.
(This performance is being staged without a licence from the Ministry. We recognise the risk that each and every one of you is taking by attending, and we salute your courage.)
Jonny Lee Miller (Trainspotting; Elementary), Tanya Reynolds(Sex Education; Scenes with Girls) and Micheal Ward (Empire of Light; Top Boy) feature in the world premiere of Sam Holcroft’s (Rules for Living) elusive and explosive new play. Interrogating censorship, authorship and free speech, A Mirror is directed by Jeremy Herrin (Best of Enemies).
A Mirror is a recipient of an Edgerton Foundation New Play Award.
£79,000 awarded to talented drama school students in need of financial support
17 drama school students from across the UK have been awarded Laurence Olivier bursaries, administered by the Society of London Theatre (SOLT), to help them complete their training.
Thanks to contributions from SOLT, and generosity of key donators – The Estate of Sir Peter and Lady Saunders, The Clothworkers’ Foundation, The Behrens Foundation, Barry Burnett and The Casting Directors’ Guild, a total of £79,000 has been distributed amongst recipients.
Now in its 36th year, the bursaries were established by SOLT in 1987 to mark Laurence Olivier’s 80th birthday, intended to support exceptional students entering their final year of drama school, who are facing financial difficulties that might jeopardize their studies.
Previous bursary winners have included Michaela Coel, Denise Gough, Bryony Hannah, Paterson Joseph, Ewan McGregor, Daniel Rigby, Vinette Robinson, Juma Sharkah, and Michael Sheen.
Nominees, put forward by drama schools across the UK, are auditioned on a West End stage and interviewed by a panel of theatre industry professionals, led by West End producer and Chair of the Laurence Olivier Bursaries Committee, Lee Menzies. This year’s auditions took place at St Martin’s Theatre earlier this month.
Bursary recipients:
The Sir Peter and Lady Saunders Laurence Olivier Bursary
Donated by the Estate of Sir Peter and Lady Saunders
Tamsin Benn (The Royal Academy of Dramatic Art)
The Clothworkers’ Laurence Olivier Bursary
Given in conjunction with the Laurence Olivier Bursary, donated by The Clothworkers’ Foundation
Abdelaziz Sanusi (The Royal Central School of Speech and Drama)
Behrens Foundation Bursary
Given in conjunction with the Laurence Olivier Bursary, donated by The Behrens Foundation
Arabella Smith-James (Bristol Old Vic Theatre School)
Benjamin Skym (Mountview Academy of Theatre Arts)
Ellie Roberts (SLP College Leeds)
Matt Underhill (Royal Birmingham Conservatoire)
Mehmet Yakar (Drama Studio London)
Joseph Stanley (Bristol Old Vic Theatre School)
Shakeel Haakim (The Royal Academy of Dramatic Art)
Carmen Silvera Bursary
Given in conjunction with the Laurence Olivier Bursary, donated by the agent Barry Burnett
Aylesbury Waterside Theatre – until Saturday 8th July 2023
Reviewed by Susan Portman
5*****
Richard O’Brien’s legendary rock ‘n’ roll musical celebrates 50 years with this special anniversary production. The longest continuous run of a contemporary musical anywhere in the world, The Rocky Horror Show has been seen by 30 million people and continues to delight audiences on its sell-out international tour.
The Rocky Horror Show is the story of two squeaky clean college kids – Brad and his fiancée Janet. When, by a twist of fate, their car breaks down outside a creepy mansion whilst on their way to visit their former college professor, they meet the charismatic Dr Frank N Furter. It is an adventure they’ll never forget, filled with fun, frolics, frocks, and frivolity. Directed by Christopher Luscombe, The Rocky Horror Show is ready to thrill you with fun and naughty moments, and features timeless classics including Sweet Transvestite, Damn it Janet, and of course, the pelvic thrusting show stopping Time Warp.
When the curtain rose to reveal the first scene with Janet and Brad in their car, my eyes scrutinised the stage backdrop. It was good, but a tad basic, and I wondered if it would improve. Oh my, it did. As it transpired it was a masterpiece of invention, with the band somehow situated above the stage (but in an almost ink-black setting) behind an aspect of the scenery. The scene changes were swift and clever with the insides of Frank N Furter’s castle looking splendid with various animal heads on the walls, but there was also plenty of techno gear as the show progressed – something for all I think.
Of course, this is very much an adult show and if you fancied a hedonistic night in Aylesbury then this was the place to be. There were transvestites, portrayals of straight and gay sex and lots of suggestive interplay between the characters including three in a bed with a hilarious moment involving Riff Raff! The Narrator, Phillip Franks was quite superb in his banter with the audience, some of whom seem to have followed the show for the fifty years that it has existed. As he narrated with alacrity, the loyal cabal in the front rows would shout out and the exchange between them and Franks provided a flawless synchronicity.
I quickly remembered that a Rocky Horror Show audience wants – nay expects – such personal interaction and this is about giving them what they desire, dressed up in all kinds of sexy gear, as they are with as much leather and sexy underwear as the actors wore onstage.
The cast was merely twelve or so strong and the amount of energy that they invested into the song and dance routines was extraordinary. They could all sing, dance and act with skill and panache – the leading players and the supporting crew. The choreography was tremendous and I can only imagine how long it took to arrange.
Brad (Richard Meek) and Janet (Haley Flaherty) gave first-class performances as the initially coy couple who ended up becoming sexual victims of the dastardly Frank N Furter. As with all the players – they possessed marvellous singing voices, and they were a perfect match. Stephen Webb, who played Frank N Furter was rip-roaringly magnificent in the leading role, having his evil way with whoever he wanted it seemed, seducing visitors to his castle. There were moments of sneering domination, and pathos to boot and he really gave us the best of the role. Frank N Furter of course created the ‘monster’ that was Rocky, played by the incredibly well built Ben Westhead with a body that most women and men would die for. He was like a young Charles Atlas (showing my age now) and his dance routines must have been exhausting, but then he looked as fit as a butcher’s dog. He gave a commanding and top notch performance
We all love Riff Raff don’t we? The sort of ‘Igor’ of the castle, slave to Frank N Furter until he turns the tables on his master. Kristian Lavercombe played him brilliantly, and his sister Magenta (Suzie McAdam was equally convincing in her role. Then there was Dr Scott, the wheelchair bound boffin, played with some considerable style by Joe Allen. I initially tried to work out what his role was in the maelstrom of madness at the castle but he fitted into the second act quickly and seamlessly. A special mention for ‘Columbia’, played with the energy of a deranged mongoose (that’s a compliment!) by Darcy Finden. She was a terrific dancer but oh my, did she have a singing voice; almost operatic at times for one with such a slim frame. She stole the show in a way for me – and I hope to see her act again someday.
There were some hilarious moments in this as one would expect, and the narrator essayed some memorable and thankfully not politically correct one-liners that I guess I dare not repeat here. Suffice to say it is adults only, but so what – we all deserve a night without the kids! I must finally mention that superb stage set. The skill of any stage set in my opinion is to seduce the audience into thinking they are actually part of it, that they are in the various scenes. This they achieved as the castle seemed to reach out and devour the audience. The costumes, music, choreography, lighting and sound were second to none and Christopher Luscombe as Director deserves a round of applause for making a lot of people very happy, living as we are in difficult times at the moment.
On the morning of the show I put the Rocky Horror Show CD on at home, just to remind me what it was like. After watching this performance live at the Waterside in Aylesbury I am reminded that ‘live’ really is the only way to experience music, dance and acting. After 50 years, the Rocky Horror Show has lost none of its allure, and it continues to entertain audiences old and new. Here’s to hedonism and cocking a snook at the world.
I am unashamedly giving it a whip-cracking, time warping 5*****
Theatre Royal, Nottingham – until Saturday 8 July 2023
Reviewed by Amy Coulson
5*****
BANG!
The gunshot startles the audience into their seats.
The stage version of the iconic early 1990s romantic thriller starring Whitney Houston is here, and it entertains from start to finish.
Never have I seen pyrotechnics in the Theatre Royal! What an awesome way to kick off this much-loved blockbuster. Literal gasps from the audience echo as the opening number throws us right into the chaos of Grammy award winning songwriter and pop star, Rachel Marron’s (played by Melody Thornton) life.
It’s worth mentioning here that as soon as it started, we felt like we’d got the wrong show! Magic Mike came to mind! These dancers were so very talented, that sometimes I forgot to watch the star!
Marron, strong willed and independent, finds her security strengthened after a stalker manages to get backstage at one of her shows, steals a costume of hers, and leaves a life-threatening letter. Her Manager, Publicist and team decide not to tell Rachel, instead leaving her to her sassy independent ways. It makes for some great tension building moments between Rachel and the new guy, Frank Farmer (played by Ayden Callaghan).
From start to finish, there’s great use of the stage. From unexpected use of projections (which were just a little cheesy) to fabulous sets which range from Academy Award shows, nightclubs, Rachel’s mansion, a recording studio, a cabin in the woods…each scene was beautifully dressed. There were plenty of unexpected thrills. This reviewer nearly dropped her ice cream a couple of times!
There are some fantastically fierce voices in The Bodyguard. We all instantly think of Whitney when we hear the title, so there were some big boots to fill. Multi- platinum Grammy nominated Melody Thornton is probably best known for being a Pussycat Doll. Here, she effortlessly leaves the audience spellbound with emotionally driven ballads that pull you in. Emily Mae as Rachel’s sister Nicki Marron needs a special shout out, for matching the talent of Thornton. Her voice is something special.
I will say, my guest turned to me at the interval and asked, “was Kevin Costner this wooden” and the answer was yes! I know what she meant! The acting did feel a little stiff in comparison to the quality of everything else, but it felt right. Film in the early 90s was all about cheese and awkwardness, wasn’t it?
Every song is a hit. I hadn’t realised how great an album this had been! I’m Every Woman, Saving All My Love For You, Run To You, I Have Nothing, and of course, the song that it felt like everyone had been waiting for, I Will Always Love You. Perfection.
AT closing, the audience is invited to sing along and get on their feet, and we were up, singing badly like no one was watching! It felt like a great way to end the day. Everyone was buzzing as they left the theatre.
A talented cast, incredible singing, world class dancers, sets that transport you to another place…with the quality, it felt like we were in London. If you want a show that leaves an impression and has you humming Whitney’s discography, then this is the show for you!
