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Leeds Playhouse, Leeds – until Saturday 17 June 2023

Reviewed by Sofia Robottom

4****

Set in Tejpal’s newly renovated kitchen which she is excited to showcase as she prepares for her daughter’s surprise birthday party, this modern domestic drama has been revived by Hollyoaks’ actor Harvey Virdi, encouraging South Asian audiences to enjoy theatre performances by reflecting personal experiences and bringing representation to theatres. This emotion-filled performance demonstrates the highs and lows of family conflicts. Containing passion and comedy, a loving family guide each other through self-realisation, evoking themes of freedom and identity.

Sunita, played by Bhawna Bhawsar, first appears on stage when she arrives home early, seemingly aggravated as she leaves her dad a voicemail in hopes that he will visit her on her birthday after decades of being away. During this introduction, Sunita expertly expresses her emotions without the need for dialogue which captures the audience’s attention. While she hides away out of the shiny new kitchen, Sunita’s family frantically prepare for Sunita’s surprise birthday party despite her grouchy and unenthusiastic attitude. As an audience we feel we are eavesdropping on family gossip and throughout the play, secrets are revealed as each family member finds out what is really thought of them.

Devesh Kishore plays Nav, the sarcastically humorous brother whose wife Harleen, played by Rameet Rauli, exudes comedy with her extravagant demeanour, in an effort to relieve the awkwardness. She always manages to squeeze a laugh out of the audience, especially when she attempts to impress Sunita’s mum Tejpal, played by Divya Seth Shah, with incorrectly spoken Punjabi. Although Tejpal runs into an issue arranging the surprise party, an old friend, and an unexpected guest is called up. As the play comes to an end, the family delve into long-buried family problems which resurface as each character reflects on their own life.

Beautifully rich with South Asian culture and cuisine, this production allows us to experience the closeness of a family enjoying their customs through their music, dancing and food, with reference to Tejpal’s infamous Dhal and butter-free Roti. The Punjabi dialect brings a sense of humour and realism. The music and dancing create a lively atmosphere, brightening up the audience’s faces. As well as exploring bi-culturalism, themes of gender, age and discrimination are prevalent.

It is wonderful thing to experience a family overcoming conflict and differences and breaking free from traditional customs and rebuilding bridges. Eventually, Sunita comes to terms with her own independence and decides to take control of her own life instead of conforming, as well as accepting the idea of moving on from her past and from waiting around her whole life.

This bittersweet performance that allows individuals of many backgrounds to identify and relate to the jokes and troubles of each character, provokes laughter, sadness and self-reflection. It’s a light-hearted play that spreads an inspiring message, specifically to women of South Asian origin, urging them to spread their wings and follow their own aspirations rather than adhere to a life that has been normalised within the community.

The Grand Theatre, Leeds – until 17^th June 2023

Reviewed by Katie Brewerton

4****

The smash hit musical The Bodyguard has come to Leeds! Having not seen the 1992 film starring Whitney Houston and Kevin Costner, I didn’t know anything about the story before going into this but, from the extravagant opening number to the finale I was hooked. 

When Frank Farmer (Ayden Callaghan) somewhat reluctantly becomes the bodyguard of superstar Rachel Marron (played by Pussycat Doll Melody Thornton) they quickly find themselves clashing. But as Rachel realises the seriousness of the threat posed by her stalker (Marios Nicolaides) she quickly becomes reliant on Frank to keep herself and her son Fletcher safe and their relationship blossoms with the chemistry between them clear.

The clever use of curtains throughout helped to separate and split the stage in to two halves to help the cast move effortlessly from scene to scene. And the use of projections on a big screen at the back of the stage during particularly sinister scene’s involving the stalker was a unique addition to the show.

With only a limited number of the cast singing throughout, mainly Rachel, Fletcher, Rachel’s sister Nicki and the ensemble a special mention should go to Emily-Mae who played Nicki Marron, h whose vocal performance was superb. 

With an array of fantastic music including a host of Whitney Houston’s best known songs including Queen of the Night, I Wanna Dance with Somebody, One Moment in Time and of course I Will Always Love You I you’re sure to have a blast at this show. Full of love and heartbreak this is a show not to be missed. 

Festival Theatre, Malvern – until 17th June 2023

Reviewed by Courie Amado Juneau

4.5****

Peter James’s Wish You Were Dead is the latest installment following Detective Roy Grace’s adventures. This time Grace is taking a deserved holiday with his wife and a couple of friends at what promises to be an idyllic French chateau. But things don’t turn out exactly as they had hoped…

The curtains open to a beautiful set. Run down yet sumptuous, with an impressive use of space and perspective to create the impression of grandeur.

Soon Grace (George Rainsford), his wife Cleo (Katie McGlynn) and their friend Kaitlynn Carter (Gemma Stroyan) arrive at the chateau on this (naturally) dark and stormy night. A backdrop familiar enough to movie and theatre goers that it was (cleverly) alluded to in the script. A nice touch. Our friends make a likeable traveling party and Cleo and Roy a believable couple – fine acting and chemistry from all involved.

Soon the French maid Madame L’Eveque appears, played suitably off kilter by Rebecca McKinnis. Like the house, there is something unsettling about her and she conveys a mood of impending menace you can’t quite put your finger on (or is it your imagination). Wonderfully nuanced, Rebecca was a delight. Clive Mantle’s reveal (as Curtis) was very well handled, producing a delicious surprise… He too was perfectly cast and held me spellbound with his characterization. The direction was fast paced yet with room to breathe so it felt natural; all credit to Director Jonathan O’Boyle and Stage Adaptor Shaun McKenna. I’ll mention here that the piece is jumpy. More than once I saw fellow attendees leave their seats only to return to them chuckling at their nervousness. There’s a nicely judged ramping up of the tension, leaving the first half on a cliff hanger, making us anticipate the second half enormously…

Act 2 is where the fun begins, at least for the baddies as it turns into a war of attrition, revenge, plot and sub plot. Oh what tangled webs we weave… and there’s plenty of weaving going on, believe me! The baddies are very much as you’d expect – think the Krays (are there no baddies whose accents aren’t like extras from Eastenders?). And others arrive who may not have much stage time but do a fine job with the limited lines they have. Everyone shines brightest in the second half as the tension grows. Bravo to all the cast. There’s an ingenious escape twist and an ending which hangs in the air (was it true or ruse…). Again, in anticipation that you will want to see the play, I won’t give anything away.

I was totally unfamiliar with this series of books/films so came at the work as a standalone piece. That didn’t matter since tonight’s stage play works on its own merits and has enough exposition to explain events fully on the evening. I found it extremely enjoyable and gripping and would certainly recommend it to anyone who enjoys a good drama or crime caper. I’m already looking forward to the next installment.

OCTAGON THEATRE, BOLTON – UNTIL SATURDAY 1 JULY 2023

REVIEWED BY ZOE BROWN

5 *****

I always enjoy a trip to the Octagon Theatre, not least because they have created a real community feel. You get the sense the audience comes back time and again for its cozy auditorium, friendly staff, and a dedication to producing some of the region’s finest productions.

Not to disappoint this performance of Alan Plater’s ‘Blonde Bombshells’ meant I left the theatre with that satisfying buzz of a great night out. Plater’s story of a war-time bandleader searching for new recruits came to him from a memory of Ivy Benson, a doughty Yorkshire woman, who ran all-women bands for 40 years, touring the length and breadth of Britain. Ivy would often have trouble hanging on to her players as they fell prey to romances, leading to mass defections!

The evening began with simple uncluttered staging depicting the sorry tatters of bomb-stricken community hall circa 1943. The ingenious design by Jess Curtis allowed for a staging that could be moved to represent a change of venue. The first half gave us a fabulous introduction to the musical talents of our cast, thanks to the musical direction of Greg Last, who I believe only had weeks to bring this ensemble together. Much like a war-time version of ‘Britain’s Got Talent’, minus the joke entrants only there to be made fun of, this was a masterclass of musical artistry. Lead by the strong and assertive performance of Georgina Field as Betty we got to eavesdrop on an audition to join the Blonde Bombshells for a very special upcoming event, performing live on the BBC radio.

Gleanne Purcell-Brown as the exciting and effervescent Nun Lily, Stacey Ghent as the vivacious and oft socially detached somewhat elevated Miranda were captivating to watch.

Sarah Groarke as Vera, Alice McKenna as Grace, Verity Bajoria as May, the founding members of the band, carried the dry wit and men-weary humour with aplomb. Lauren Chinery as Liz, our naïve unassuming schoolgirl was a delight, not to mention a joy to hear singing. Lastly, our only man in this all-female band? Rory Gradon as Patrick held his own, even if at times there are uncomfortable and socially unacceptable behaviours given our modern viewpoint on age-appropriate relationships.

My only critique, a small but valuable one, is that, as a hard of hearing person, there was the occasional instance I could not hear some of the actors’ lines due to poor diction or a lack of projection. As a theatre in the round production, I accept this can create challenges, especially if actors have their backs to you. But it is something to be carefully considered. Thankfully it was occasional and did not hamper enjoyment of the show overall. For those who prefer not to miss a beat there is a BSL interpreted and captioned performance Tue, 20th June, 7:30pm.

I would not describe this production solely as a ‘play’ in the traditional sense, more like a musical feast of multi-talented actor musos performing fabulous 40’s numbers loosely held together by storyline. However, that did not detract from what was a wonderful event.

Yvonne Arnaud – until 17^th June 2023

Reviewed by Heather Chalkley

3***

This classic regency comedy from J.M. Barrie is brought to life through a play within a play. The Director Laurie Sansom, has cleverly incorporated a modern day setting as the backdrop for the 1805 tale of returning soldiers, love rekindled and a web of unravelling lies.

The play lends its name to the famous Quality Street chocolates, created by the ‘Toffee King’ John Mackintosh in the 1930’s. We find ourselves with a retired group of chocolate makers in the original Halifax factory, come to see the play and reminisce. The words and characters are from actual retired workers, who attended rehearsals in Halifax!

This is a tale of requited love! We meet Phoebe (Paula Lane) and Susan (Louisa-May Parker) Throssel, two sisters fallen on hard times during the Napoleonic wars. They open their home as a day school to make ends meet. Both Parker and Lane leave you under no false illusions as to how miserable this makes their characters! Their pupils come back later as grown up soldiers and ladies, retaining their comical childhood characteristics. The ensembles quick switch between characters, past and present, keeps you smiling and definitely on your toes! Phoebe’s (Lane) love for Captain Valentine Brown (Aron Julius) leads her into a farcical pretence that she is her imaginary niece, Livvy, so she can attend the 3 town balls that welcome the soldiers home. The beautiful ball gowns are the quality street colours we have all grown up with. The flirtatious Livvy (Lane) leads the town a merry dance, stealing all the attention from potential suitors. The glue to stick the story together is often Patty (Gilly Tompkins), maid to the sisters, who is hilariously run ragged keeping the pretence going and offering desperate words of wisdom.

This is a far cry from J.M. Barrie’s well known stories of Peter Pan, however it captures the same magical essence of the regency period. A sweet play to escape in to.

The Crazy Coqs

Reviewed by Phil Brown

4****

The cosily intimate Crazy Coqs, located on the edge of Soho, with its glitzy interior hinting of art deco, feels like the perfect venue for staging the wistfully reflective “Soho Songs”  – an exciting new song cycle in progress, highlighting the lives of people who inhabit the area, its character and how its changing.  

In the way that the name Hollywood implies so much more than a neighbourhood of LA, to most Brits, Soho is not so much a dream factory as redolent of every kind of off duty distraction on offer, along with a smorgasbord of seamier pleasures to sample.  Songwriters Barb Jungr and Mike Lindup (Level 42) have cleverly composed musical snapshots of Soho life around a typical day in the Shangri-La, a single public house struggling to stay open, and whose ever shifting clientele from dawn to dusk provide the subject matter for the songs  It’s a brilliant concept and one that should have legs.

The songs were performed with considerable style and gusto by 5 exceptional vocalists in a variety of formations – 2 women (Emma Salvo and Hannah Nuttall) and 3 men (Will de Renzy Martin, James Gulliford and Stephen Lambert), each having their moment out front.  They were backed by the very accomplished trio of Mike Webborn (piano and musical director), Doug Brennan (bass) and Jonathan Lee (drums).  

The musical performance alone was worthy of 5*, but as a cohesive show, it is probably still not quite fully realised.  It is a work in progress after all.   In some ways, it felt too intense – you’ve barely finished digesting the import of one song when you’re onto the next.  Having said that, appetite whetted, I also felt hungry for more.  I hope there is scope for one or two more songs and also some opportunity to reprise some of the musical themes.  There is no between songs chat – the director makes use of fairly short audio clips with thoughts and experiences of (presumably genuine) Soho characters.  Whilst this seemed a touch clunky at times, Benji Sperring’s direction is otherwise suitably understated with, I think some limited use of costume, and some well judged, subtle in character acting by the vocalists.  

The song cycle itself is clearly the work of a master craftsman/woman.  Every song is lyrically rich and smart, laced with wry humour (reminiscent of Clive James’ work long ago with Pete Atkin).  For this reason, I would hope that in future, audience members can get access to a  lyric sheet.  Why hide such craft away?  The arrangements are excellent – superbly imaginative and well executed and the song cycle covers a breadth of musical styles and tempos that render every song fresh and helps build engagement throughout the show..  

For me, the standout song of the evening was the beautiful, melancholic  “Your Heart in My Hand” performed immaculately by Will de Renzy Martin.  It has the air of a future songbook standard about it.  A number of other songs are candidates to be audience favourites and some, potential hits.  The witty, semi spoken “Estate Agent” would likely resonate with many.  I loved the US parade ground call and response swing of the pit musician song, the immediately catchy disco beat of “Nice Girls Shouldn’t Go to Soho” and the funky boogie of the formidable “Bouncer Man”.  “Kit on, Kit off” has some delightful melodic variations and the Shangri-La landlady’s “Every Kind of Blue” is wonderfully world weary.  Following the love torn “Heart in my Hand”, the song cycle ends with the harmony rich, deep nostalgia of  “Dreaming of Soho”.

Even as a work in progress, Soho Songs is simply 75 minutes of incredible music and more importantly, superb, satisfying entertainment.  Thoroughly recommended.

Adelphi Theatre, London – 13 June 2023

Reviewed by Phil Brown

3***

For one night only – at least for 2023 – the Adelphi Theatre on the Strand played host to the never ending tour that is Lost in Music, and its encyclopaedic repertoire of 70s disco music.

And what a night…

The air conditioned respite from a very warm London night didn’t last that long before the Lost in Music band had the audience on its feet grooving, singing and sweating along to the disco beat of classic 70s hits.  Across both halves of the show, the full set list ran to a mammoth 25 or so songs and several medleys covering all of the greats – Earth Wind & Fire, Gloria Gaynor, Donna Summer, Bee Gees, Tavares, Chic, Barry White, Family Sledge, Rose Royce and many more.

Lost in Music is essentially a very professionally presented concert in two one hour sets with a live band and 5 singers.  The audience is required to play its part in generating atmosphere and singer Kevin Coles who also MCed the show, worked consistently hard on audience engagement. The exhortation to “make some noise” did wear thin pretty quickly but the audience seemed ever ready to cooperate.  In a move that is likely to trouble the usual theatre crowd, the use of mobiles to post on social media and acknowledge performers is actively encouraged at this show.

As stage sets and lighting systems go, these would probably be regarded as no frills options compared to the state of the art, and are almost certainly designed for ease of touring.  The stage costumes on the other hand are a lot more glam – at least for the three female singers – Jackie Walters, Natalie Collins & Taryn Charles. 

Even though the Lost in Music show is only a few days into its 2023 tour, the seven piece band was already road honed and impressively tight.  Tony Woods on keys and musical director seemed content to take a back seat, while all of the horn section enjoyed good solo moments showing off their chops and sparring with vocalists up front (Lee Hallam – Trombone, Pelham Wood – Sax and Dylan Herbert – Trumpet).  (They’re also worth keeping an eye on for their dancing).  Chris Dawkins on lead guitar took a few decent solos while the rhythm section (Des Woodbine – bass and Cameron Meek – drums) were thunderingly relentless.   Sadly, the band wasn’t well served by the sound system which seemed murky to my ears.

The singers rotated roles slickly throughput and were very polished without ever quite attining the peaks of the original recodrings.  Aside from the amusing Travolta moves, there were occasional moments of choreographic interest, and both Kevin Cole and his limber male vocalist partner, Bilal Aygei impressed with their athleticism.

For me, the first set took a while to warm up and then tended to drag.  Things got off to a much livelier start in the second set and although it doesn’t look like it on paper, whoever programmed the running order has loaded many of the best songs and performances into Set 2.  Even so, Set 2 also seemed to go on too long.   Unrelenting disco music offers little scope for varying the dynamics of a show and there is a delicate trade off between sending the audience on its way feeling sated or bloated.

With 70s disco surely being a niche market, it’s quite a feat to virtually sell out the Adelphi Theatre.   Most of the audience were female of a certain age.  Any men along were probably designated drivers, walking wallets or reviewers.  It’s good that 70s disco is still being played live to such a high standard, but there will come a time when that audience starts to dwindle.  In the meantime, Lost in Music is a surefire way of scratching that disco itch for a few years to come.

NEW COMPANY ANNOUNCED FOR OLIVIER AWARD NOMINATED WEST END SENSATION

THE CHOIR OF MAN

NOW BOOKING AT THE ARTS THEATRE UNTIL 18 FEBRUARY 2024

TICKETS AVAILABLE TO BOOK HERE

Welcome to the best pub in the world… Come ready to drink in the excitement!

Opening hours extended again! The Olivier-nominated international stage sensation THE CHOIR OF MAN continues its sell-out West End run at the Arts Theatre, with new tickets released for dates until 18 February 2024.

An uplifting celebration of community and friendship with something for everyone… including free beer! Enjoy 90 minutes of feel-good, foot-stomping entertainment unlike anything else in the West End.

Brimming with hits from artists such as Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns & Roses, Avicii and Katy Perry to name but a few. A wildly talented group of incredible instrumentalists, world-class wordsmiths, and sensational singers; this cast of nine (extra)ordinary guys serve it all…live!

From Tuesday 4 July, the new company of the West End show are Adam Bayjou (The Choir of Man – US Tour, Les Misérables – West End) as ‘The Hard Man’, Michele Maria Benvenuto (The Choir of Man – Norwegian Cruise Line, West End debut), as ‘The Maestro’, Andrew J Carter (The Choir of Man – Edinburgh Fringe, Australia, US Tour, The Phantom of the Opera – Beau Sejour Centre) as ‘The Pub Bore’, Ben Goffe (Hex – National Theatre, Snow White at the London Palladium – London Palladium) as ‘The Handyman’, Luke Conner Hall (Bat Out of Hell – International Tour, Australia/New Zealand, Peacock Theatre, QUEENZ: The Show With Balls! – Coventry, Edinburgh Fringe, UK Tour) as ‘The Romantic’, Michael Hamway (Andrew Lloyd Webber’s Cinderella – Gillian Lynne Theatre, Waitress – Adelphi Theatre) as ‘The Poet’, Mark Irwin (The Choir of Man – Korea, US Tour, Sydney Opera House, Norwegian Cruise Line, European Tour, The Commitments – Palace Theatre) as ‘The Barman’, Tom Miles (The Choir of Man – Norwegian Cruise Line, Arts Theatre, UK Tour, Frankenstein – Illyria) as ‘The Beast’. Completing the company are Sam Ebenezer (The Mousetrap – St Martin’s Theatre, Cinderella – Sunderland Empire), James Hudson (Saturday Night Fever – Peacock Theatre, The Choir of Man – Sydney Opera House, European, Australian & USA Tour), Peter Lawrence (The Choir of Man – UK Tour & International Venues, Peter originated the role of the Beast as the Edinburgh Fringe Festival), Niall Woodson (West End debut) and Daniel Harnett as ‘The Joker’

The on-stage band has Emmanuel Nana Kwasi Bonsu on drums, Jack Hartigan on guitar, Darius Luke Thompson on violin and Sam Tookey on bass.

THE CHOIR OF MAN previously played three sell-out seasons at the Sydney Opera House and multiple sold-out US and European tours. Following its last run at the Arts Theatre from October 2021 to April 2022, it received an Olivier nomination for Best Entertainment or Comedy Play, and then went on to play in Coventry as part of the City of Culture Assembly Festival season and at the Edinburgh Fringe Festival. The show re-opened at the Arts Theatre in October 2022, and has continued to see many sold-out shows, with loyal audiences returning again and again. The show has also recently announced a formal fundraising partnership with suicide prevention charity CALM (The Campaign Against Living Miserably), with the aim to raise £10,000 for the charity’s vital work over the next year.

THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with musical supervision, vocal arrangements and orchestrations by Jack Blume, movement direction and choreography by Freddie Huddleston, monologues written by Ben Norris, scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and associate scenic design by Verity Sadler, sound design by Sten Severson, casting by Debbie O’Brien. Hollie Cassar serves as musical director and associate musical supervisor.

The show is produced by Immersive Everywhere, Nic Doodson, Andrew Kay, Wendy & Andy Barnes, Gavin Kalin and Hunter Arnold.

Nic Doodson said, “We’re absolutely delighted to extend the opening hours of The Choir of Man in the West End. Since first opening at the Arts Theatre in 2021, it’s come to be a real home for us and we love opening the doors to The Jungle, our onstage pub, and welcoming everyone in to share an evening of stories, song and of course, a beer or two. The new company that will be the landlords of The Jungle are an incredible group of performers and we can’t wait for not only our regulars but also our new visitors to see them every night!“

Website: choirofmanwestend.com

Facebook: @thechoirofman

Twitter & Instagram: @choirofman

Aylesbury Waterside – until Saturday 17th June 2023

Reviewed by Julia Spargo

1*

Scott Hastings is a successful Australian ballroom dancer who brings his own moves to competitions. When his dance partner leaves him out of frustration, Scott pairs up with beginner dancer Fran, who comes from a Spanish family with a flamenco background. Scott’s mother, ambitious for her son to achieve what she never managed in the ballroom world, is determined that he should dance with a professional partner in order to win the Pan Pacific Championships title. Scott learns, through Fran and her family, to feel the rhythm of the music rather than just dance rehearsed steps, and he and Fran are able to break free of ballroom traditions, falling in love in the process.

Families from opposite sides of the tracks and dance partners becoming romantic partners are familiar tropes, featuring in Romeo and Juliet, West Side Story, Shall We Dance, Dirty Dancing and of course, the original Strictly Ballroom movie, directed by Baz Luhrmann. Here, Baz Luhrmann returns to co-write this musical (with Craig Pearce), and with choreography by Craig Revel Horwood and Jason Gilkison (both Titans of Strictly Come Dancing), I was expecting to be wowed. Sadly, I was left underwhelmed. Strictly Ballroom The Musical can best be described as chaos dripping in glitter. A large cast with troubling wigs and gaudy costumes whizz about the stage with no coherence. The lighting is frantic. The acting borders on hysterical. The humour falls short and there is no light and shade, both figuratively and literally. A musical about the superficial, messy world of ballroom would have been better served by highlighting the tackiness with slower, calmer moments of truth, but these were few and far between. Some scenes (including one with a not-subtle hint of fellatio and four male dancers in their Y-fronts) made no sense at all. More than once I wished everyone would just take a breath. Scene changes were quick. Dialogue was rushed. Kevin Clifton as Scott Hastings was competent as a dancer and singer but overshadowed by Faye Brookes as Fran, who brings verve to the role.

The climax of the first act is a great scene where Fran’s father, Rico, shows Scott how to dance. Stylianos Thomadakis as Rico shines above every other dancer on the stage with his incredible paso doble. The entire cast joins in a joyous celebration of Latin dance. It gave me hope for the second half.

Sadly, it was not matched again. I enjoy camp, glamour and comedy but this fell short for me.

Everyman, Cheltenham – until Saturday 17 June 2023

5*****

A return visit to Titanic, this time at The Everyman in Cheltenham.  Still hauntingly beautiful, still poignant and still incredibly sad, Titanic remains my favourite musical of all time.  Maury Yeston’s immaculate score tells the story of the doomed maiden voyage of the ship of dreams.  

We meet the characters who make the show so perfect. The owner J.Bruce Ismay (Martin Allinson), the designer Thomas Andrews (Ian McLarnon) and Captain Edward Smith (Graham Bickley).  The crew: Officers Murdoch (Billy Roberts) and Lightoller (Jack North), Wireless Operator Bride (Alastair Hill), Bell Boy Edward (Joseph Peacock), Stoker Barrett (Adam Filipe) and First Class Steward Henry Etches (Barnaby Hughes). And the passengers: Isador and Ida Straus (David Delve and Valda Aviks) in first class. In second class, Alice and Edgar Beane (Bree Smith and James Darch) and Lady Caroline Neville and Charles Clarke (Emma Harrold and Matthew McDonald). And in third class the Kates (Emily George, Niamh Long and Lucie Mae-Sumner) and Jim Farrell (Chris Farrell).  All of the 25 ensemble play multiple characters of crying crew and passengers.

In the first act, we lead up to the disaster, the  owner trying to impress the guests and get the boat to sail faster, the designer who errs on the side of caution and the Captain stuck between them both.  We follow the stories of everyone on board, investing in Peter Stone’s intricately written characters and in the second act we root for them to survive.

When “all” the women and children have got on the lifeboats and the men remain, knowing the futility of what is about to happen our heart breaks.  When the husbands reassure their wives to go without them because they’ll collect them in the morning, it’s hard to imagine.  Would I be brave enough to get into a lifeboat into the unknown, leaving behind my husband of over 30 years or would I want to stop with him, together to the end?

There were quite a few understudies tonight, so apologies to anyone misnamed. But this only reinforces what a versatile and talented ensemble they are.

Yeston’s music is sensationally executed by the live band (Thomas Leate, Bridget Mansfield, Gemma Connor, Jack Cherry and Craig Apps) led by Musical Director Ben Papworth. David Woodhead’s set and costume designs are first-class.  Danielle Tarento has produced a thing of beauty