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Richmond Theatre  – until Saturday 20^th May 2023

Reviewed by Carly Burlinge

5 *****

Around the World in 80 Days comes to life on stage at Richmond Theatre. Based on the Novel by Jules Verne this amazing, fun, exciting, creative and full of laughter production has been adapted and directed by Juliet Forster.

The set opens up in a circus where the performers are discussing how they shall begin to tell the story and adventures of Phileas Fogg (Alex Phelph). A man who is very set in his ways. He comes across very reserved and likes to do the same things day in and day out. “He likes what he likes and likes what he knows”. He decides that he will travel around the world in 80 days, taking the audience through an adventurous whirlwind of a trip. He passes through many countries and experiences many cultures whilst also teaching us some history along the way. His Character is played tremendously well, very guarded and a little mysterious, making him great to watch. The show also becomes a tale of two entwined when the Acrobat (Katriona Brown) and the trick rider (Genevieve Sabherwal) decide that if the story of Phileas Fogg is going to be told then so should the story of Nellie Bly. A female reporter completing the same journey in only  72 days. They both strongly believe that a female role is important but the ringmaster just wants to get on with Phineas’ version, this all becoming very comical. He likes to think he’s in control but with an interrupting cast, especially the Acrobat who loves to take the stage whenever she gets the chance, continuing to get Nellie Bly’s story across to the audience. Making it all a battle on stage to get their stories out, while also ending up very humorous  and amusing, also having the audience giggling away as well as smiling from ear to ear. She did an exceptional job and was spectacular to watch. I could go on all day about just how good this cast were, everyone had something fantastic to offer. Making it an outstanding show to watch.

As they continue through their travels, this consisting of all forms of transport. The cast show much creativity using small props that give such an impressive impact to the show. From riding the  Train/Locomotive  in  India to using a ladder for the coaches. So much imagination and it was just splendid to watch alongside some exceptional fast changes of characters and movement on stage, from sailing ships in storms to riding an elephant. Such skill was shown throughout and the cast showed an amazing connection throughout the performance.

It was lovely to see so many children also enjoying the show, making it a perfect evening out for all. An all-round great performance offering much skill and knowledge that was just splendid to watch and take in with much laughter and delight. A spectacular production that shouldn’t be missed.

Southwark Playhouse – until 17 June 2023

Reviewed by Claire Roderick

4****

How to Succeed is crammed with dodgy stereotypes and attitudes, but this satire about the ethics of big business is a gem in the safe hands of the team behind last year’s wonderful production of Anyone Can Whistle. Director Georgie Rankcom lends their colourful and playful touch to another classic.

Everyman window cleaner J. Pierrepont Finch (Gabrielle Friedman) rises rapidly from a job in the mailroom to vice-president of the company with the help of a handy How to… book (voiced by Michelle Visage). As Finch climbs the corporate ladder through luck, subterfuge, quick thinking and being polite to secretaries, the nephew of the chairman vows vengeance as he finds that nepotism cannot stop Finch’s rise to the top.

Frank Loesser’s music and lyrics are catchy and memorable. Sophia Pardon’s set and costumes are bright and cartoonish, complementing the cartoonish buffoonery and outdated attitudes that were being lampooned back in 1961 when the musical premiered. The set also has a gameshowey vibe, with the relationships between the secretaries and the men feeling like The Dating Game at times. Rankcom has introduced gender fluidity in the cast, with Tracie Bennett’s hilariously physical performance as J.B. Biggley making the old guy even more ridiculous than he is written. Gabrielle Friedman plays Finch as a basically good soul, with flashes of ruthless ambition and an unwavering determination to succeed. The entire cast are at the top of their game, with exuberantly joyful and silly performances. Elliott Gooch is the perfect comic villain – with touches of the deviously inept Hooded Claw, Verity Power is brilliantly OTT as Smitty and Grace Kanyamibwa almost steals the show with her astounding vocals in the best number of the show Brotherhood of Man. The star of the show is the incredible Allie Daniels as lovelorn secretary Rosemary. With exquisite comic timing and able to make the audience howl with the raising of an eyebrow, Daniels is a joy.

How to Succeed in Business Without Really Trying is a blast – a wonderful cast and a show full of fun.

Park Theatre – until 3 June 2023

Reviewed by Claire Roderick

4****

Philip Ridley’s fiercely fraught drama about a family dealing – or not dealing – with past trauma is not an easy watch. The twists and turns as memories are shared, disputed and reimagined come thick and fast as the seemingly controlled life of Steven (Ned Costello) begins to fracture when he discovers his wife Debbie (Katie Buchholz) is pregnant.

At first, Steven appears to be the stable, successful and reliable brother, helping his mother Liz (Kacey Ainsworth) and alcoholic brother Barry (Joseph Potter). Barry is a talented artist, but his chaotic life has prevented him from focussing and achieving. As the brothers and their mother interact, it becomes clear that there is more than one version of events, and each of them has their own reasons for pushing their particular take on the truth. Liz’s steadfast determination to hold her family together and brush over any difficulties has caused the family to evolve into talkers, not listeners, who cannot really express their feelings. Her description of mental health issues and their effects as “the fluey-bug thing” steers the versions of the truth that she hears from her sons. As the play continues, the tension ramps up as Barry and Steven’s memories of their father and his funeral are set at odds and their roles in the family are reversed as Steven succumbs to the fluey-bug thing. The brothers’ final confrontation is staged masterfully on the sparse stage, with the reasons why their fierce, protective love for each other is tinged with guilt and hate finally being voiced. Costello and Potter complement each other brilliantly, with Potter’s manic and jittery Barry in early scenes becoming stiller and threatening as the play progresses and the character finds the strength to finally voice his truth. Costello’s portrayal of Steven’s descent into despair sees him physically squirm as he performs mental acrobatics to retain control of events. He is both frightening and pathetic as childish anger and pettiness erupt but watching him find the will and strength to refute Barry’s truth and cruelly and gleefully reassert his own version of their past, reclaiming control is frankly horrible as his gaslighting becomes turbocharged. Under Max Harrison’s direction, the change in dynamics of the brothers’ relationship is made clear physically as well as verbally, with the dominant man always circling their prey.

Kacey Ainsworth is wonderful as Jean, complicit in some of the lies the family tells itself but burning with love for her boys. Katie Buchholz is a blast as Debbie, the catalyst for the family breakdown and suspicious of her husband’s actions. The scenes between Debbie and Steven are full of marital tension, but compared to what the brothers are dealing with, these scenes are a welcome comic relief.

Staged in the round, Kit Hinchcliffe’s slick set has four benches around the edge of the stage. This means that the characters are sometimes speaking with their back to you, but the person they are talking to is always visible, so you see their reactions and cannot judge the verity of the speaker – adding to the atmosphere of doubting who to believe.

The cast portray the disturbing and frustrating characters brilliantly, tackling many questions about memory, truth and conflicting agendas with a rapier sharp touch. An excellent production.

Southampton Mayflower – 16 May 2023

Reviewed by Lucy Hitchcock

3***

Arguably the most famous opera of our time has been re adapted by Welsh National Opera to bring you a modernised version of Mozart’s brilliance.

Conducted by Teresa Riveiro Böhm, this incredible orchestra navigates us through the storyline and does not miss a beat in the slightest. We meet Tamino and Pamina, two young friends who have been separated from their childhood and we join Tamino’s quest to find and bring Pamina home to her mother, the Queen of The Night. Albeit a very easy storyline to understand, I did find myself longing for the magic and energy that Mozart originally created for the piece. The modern reworking is great, if you want to bring children along to their first opera, but I found the execution of some of the modernisations to be lacklustre and fell a little bit flat.

I also found that the reworking of the libretto to include more ‘funky language’ a little bit off putting – as I can’t imagine Mozart intending the word Awesome to be part of one of his best pieces! I must say however, that Quirjin de Lang’s portrayal of Papageno, a bird catcher who provided much needed comedic relief, to be a massive breath of fresh air and a driving force for this production.

If you want to see a modern, more hip version of a well known opera, this is definitely for you. An easy watch, perfect for children and young adults – sadly, I prefer traditionalism.

New Theatre Wimbledon – until 20 May 2023

Reviewer Alec Legge

4****

To the New Theatre Wimbledon, to watch this musical offering.

Curtain up and the scenery depicted a Cornish harbour and the cast roared out their first number, loudly and with gusto. It was amazing and awe inspiring, the audience visibly liking what they saw and heard.

From then on number after number was sung by the Fishermen with all the same enthusiasm with the audience showing their appreciation by loudly applauding each number. Not a sophisticated performance but a rip-roaring, foot stomping rendering of sea shanties as they should be performed and enjoyed.

Between the numbers there was lots of dialogue with innuendo, jokes and some non woke repartee!

It must be said that there as well as the Fishermen there were also impressive singing performances from Alwyn, Parisa Shahmir, and there was also a lovely scene involving the ladies of the cast led by matriarch Maggie, played by Susan Penhaligon at her best. There were also a number of musicians who appeared on stage playing all sorts of instruments, including harmonica double bass, guitar. accordion, banjo amongst others and a talented drummer whose instruments included a wooden box!

The story line of the Fishermen’s Friends path to fame closely followed the original film depiction and clever use of lighting and effects enable the audience to follow the story of the discovery of the singing group in their small Cornish harbour town by the clever, wily London agent Danny, Jason Langley, and to their eventual release of a hit album and their appearance on the pyramid stage at Glastonbury.

At the end of the performance the cast received a well deserved standing ovation. This was a really enjoyable theatre experience and I would heartily recommend this musical to all.

The theatre is a gem of its ilk, with good views from all seats. It also has wheelchair access to the stalls but not to the circle seats. which are all accessed by steps. The ambiance of the theatre adds itself to the enjoyment of a visit and it is situated in an area with plenty of restaurants and bars for pre theatre meals etc.

York Theatre Royal – until Saturday 20th May 2023

Reviewed by Michelle Richardson

4****

Northern Broadsides, in collaboration with New Vic, are once again treading the boards at York Theatre Royal. Under the direction of Laurie Sansom, Quality Street, a regency comedy written by JM Barrie, is playing until Saturday 20th May. The original Quality Street was written in 1901, before his most famous work, Peter Pan, was released. If anyone mentions Quality Street, we automatically think of the brightly coloured chocolate. In our house they came out in abundance every Christmas, in their purple tins. It may be surprising to know that these chocolates were named after the play.

Set during the Napoleonic Wars, Quality Street tells the story of two sisters Phoebe (Paula Lane) and Susan (Louisa-May Parker) Throssel, where the former is expecting an offer of marriage from the dashing Valentine Brown (Aron Julius). Unfortunately, his exciting news doesn’t involve a ring, but a commitment to King and country, he has enlisted to fight in the Napoleonic Wars. After a failed investment, made on Valentine’s recommendation, the sister have set up a school to make ends meet.

Ten years later Captain Brown returns to find Phoebe older, the curls gone, time has not been kind to her. She is heartbroken at his reaction, realise that she has been hiding from herself whilst he has been away. Due to some confusion she later introduced to Valentine by the maid Patty (Gilly Tompkins) as her niece Livvy, young and pretty, with ringlets and more than a passing resemblance to her aunt. Things soon get out of hand with the flirty Miss Livvy, before Valentine realises who he truly loves.

This is not the only story. Our first introduction is to a bunch of retired chocolate factory workers, played by the actors of the main play, inspired by the workers from the Halifax Mackintosh factory, discussing their lives and excited by the prospect of helping out with the production. Their inclusion came about after being invited to rehearsals and asked for comments. Their observations we so insightful and funny that it was decided to include them in the final play. I did find this a bit odd at first but as the show unfolded it added to the experience.

Some of the costumes were amazing. The colourful gowns worn at the balls were shiny, bright and in the colours of the famous sweets, purple, orange, you get the idea. Military uniforms, just look at pictures from the old tins. The music and choreography were a delight, with some modern touches.

I thought that it got off to a slow start, but that soon changed, especially after the interval. It was wonderfully acted by a diverse and talented cast. Lane as Phoebe, got to showcase her talent as the world-weary Phoebe and the spirited Livvy, complete with “out there” dance moves. She shared some great comedic timing with Parker as her sister Susan, especially as things start to unravel. Tompkins also created some great laughs with just her appearance on stage. It was lovely to hear the fabulous Yorkshire accent, even though I am not an original, there was even some scouse, courtesy of Julius. It is always great to hear some different accents from around the country.

I must say that this romantic comedy has some really splendid moments. None more so than the scene with Brown removing an ill “Livvy” from her aunt’s house, in order to deceive the noisy neighbours, the Willoughby’s. It was hilarious. I was laughing so much I had tears of laughter streaming down my face. I believe that is the first time that has happened to me whilst seeing a live show. Brilliant!

A sparkling mix of colours, shapes, and flavours, with romance and fun throw in. A show to lift your spirits.

Arcola Theatre, London – until 3 June 2023

Reviewed by Celia Armand Smith

4****

Mustard is described as “a one-woman show about heartbreak, madness, and condiments” by Eva O’Connor, the writer and performer behind the show. And that is exactly what it is. Originally performed at the Fringe in 2019, this show is about the relentless nature of grappling with mental health and how we cope, or don’t, in our own way.

We start at the end of a broken relationship that is maybe on the way to being mended, full of hope but still fragile. The main and only character known as E and played by Eva O’Connor enters carrying two shopping bags and a tale to tell. As the shopping bags are emptied over the space of an hour, she tells the story of how she met a handsome cyclist at a club, and ended up moving into his house in North London. What follows is a journey through the ups and downs of intense new love, and then an abrupt ending followed by a mental unravelling that takes her back to Ireland and a mother she has disconnected from. There is one constant throughout: mustard. A stinging coping mechanism available by the jar.

The story telling is vivid and coupled with an excellent use of the space. Directed by Hildegard Ryan, every inch of the stage is covered with props emptied from the bags. At one point a clothes line is unwound from E’s body, and clipped across the front of the stage whilst O’Connor never once breaks the rhythm. Nimbly moving through the prose, there are some light moments scattered amongst the darker tragedy of the piece.

By the end of the performance, we hope that E can find some inner peace, and that the mustard will loosen its grip. Self harm, heartbreak, and a general unravelling are tough topics to talk about let alone perform on a stage non stop for an hour (with a paddling pool full of mustard), and Eva O’Connor tackles them with a deft touch that is raw, powerful, and triumphant.

Casting announced for Sasha Regan’s All-Male
The Mikado at Wilton’s Music Hall and on tour

With new cast photo released

Following her critically acclaimed all-male productions of ‘H.M.S. Pinafore’ and ‘The Pirates of Penzance’, Sasha Regan is returning to Wilton’s Music Hall – the only surviving Grand Music Hall in the world – with Gilbert and Sullivan’s irresistible ‘The Mikado’ from Wednesday 7 June to Saturday 1 July. Press night: Friday 9 June at 7.30pm.

The cast is today announced as Declan Egan (as Bertie Hugh), Sam Kipling (Miss Violet Plumb), Lewis Kennedy (Mikado), David McKechnie (Mr Cocoa), George Dawes (Wilfred Lush), Aidan Nightingale (Albert Barr), Owen Clayton (Lily Tring), Richard Russell Edwards (Hebe Flo), Christopher Hewitt (Kitty Shaw) with an ensemble featuring Harry Cooper-Millar, Oliver Bradley-Taylor, Patrick Cook, Struan Davidson, Franciso Gomes, Elliot Akeister, Shane Antony-Whitely.

After Wilton’s Music Hall ‘The Mikado’ will tour to:
Theatre Royal Winchester 3  – 8  July
Theatre Royal Bath 10  – 15 July
Hall for Cornwall 20 – 22  July

One of G&S’s most famous operettas, featuring the songs “A Wand’ring Minstrel I”, “Behold the Lord High Executioner” and “Three little maids from school are we”, ‘The Mikado’ is traditionally set in Japan. But this vibrant production successfully pokes playful fun at British politics and institutions by  transposing the crazy storyline to an all-boys school in 1950s England. A school camping trip is visiting the far away land of Titipu – a place where flirting is banned on pain of death and where tailors can become Lord High Executioners but cannot cut off another’s head, until they have cut off their own!

Regan’s idea to transform these much-loved classics into all-male productions stems from her own experience performing Gilbert and Sullivan at a single-sex school. Her shows are renowned for playing on the unique humour it creates.

Creative team:
Director Sasha Regan
Designer Ryan Dawson Laight
Choreographer  Adam Haigh
Casting Adam Brahm
Producers Regan De Wynter Williams

Sasha Regan was recently awarded the Special Achievement Award at the Off West End Awards for her  contribution to musical theatre.

Regan De Wynter William’s 2022 production of ‘H.M.S. Pinafore’ was nominated Best Opera Production at this year’s Offies.

The Mikado
With music by Arthur Sullivan and libretto by W. S. Gilbert, was their ninth of 14 operatic collaborations. It opened on 14 March 1885, in London, where it ran at the Savoy Theatre for 672 performances, the second-longest run for any work of musical theatre and one of the longest runs of any theatre piece up to that time. By the end of 1885, it was estimated that, in Europe and America, at least 150 companies were producing the opera.

About Wilton’s Music Hall
Wilton’s is a Grade II* building of international significance as it is the only surviving Grand Music Hall in the world, the foremost arts venue in the East End, Wilton’s welcomes world-class artistic talent to the East End all year-round. Wilton’s programmes and produces extraordinary music and theatre, which speak to the magical space of Wilton’s and are enhanced by it. It is home to over 300 performances and over 80 productions each year. Wilton’s has been home to the first East End BBC Prom, hosted the London International Mime Festival and championed new writing including plays by James Graham, Patterson Joseph, Chris Thorpe, and Joy Wilkinson.  It has hosted international work from Hong Kong to Canada and the team of artistic associates have kept diversity at the heart of all they do. Recently named the fifth most iconic building in London by Time Out, Wilton’s has a unique spirit that has captured the imagination of generations of artists for over 160 years. Wilton’s invest in the next generation of actors, directors and musicians through its Heritage and Artistic Engagement programmes.

LISTINGS INFO
‘Sasha Regan’s All Male
The Mikado’

directed by Sasha Regan

Wilton’s Music Hall
Graces Alley,
London
E1 8JB

7 June – 1 July

Tuesday – Saturday at 7 30pm
Thursday and Saturday at 2.30pm

Running time:
2 hours 10 minutes plus interval

Age Recommendation: 6+

Venue Website  http://www.wiltons.org.uk/

Box Office: 020 7702 2789

Tickets: from £12.50

SHIRLEY VALENTINE

STARRING SHERIDAN SMITH

CELEBRATES 100 SOLD OUT PERFORMANCES

AT THE DUKE OF YORK’S THEATRE

100 SOLD OUT SHOWS (INCLUDING STANDING ROOM)

100 STANDING OVATIONS

100 EGGS COOKED!

The West End production of Willy Russell’s award-winning comedy Shirley Valentine starring Sheridan Smith tonight celebrates 100 performances at the Duke of York’s Theatre in London’s West End, with all 100 shows selling out (including standing room) and receiving standing ovations, from ecstatic audiences night after night.

The show’s producer, David Pugh, said, “Never in my wildest dreams did I think that in 100 performances every seat would be sold with every standing position filled. This is a phenomenal achievement for Sheridan Smith and Willy Russell and one as a producer I am so proud of.”

Willy Russell’s Shirley Valentine starring Sheridan Smith opened to wonderful reviews and public acclaim and continues its run at the Duke of York’s Theatre until 3 June 2023, with limited seats available for the final weeks. 

SHIRLEY VALENTINE is the joyous, life-affirming story of the woman who got lost in marriage and motherhood, the woman who wound up talking to the kitchen wall whilst cooking her husband’s chips and egg. But Shirley still has a secret dream. And in her bag, an airline ticket. One day she may just leave a note, saying: ‘Gone!  Gone to Greece.’

SHIRLEY VALENTINE is written by Willy Russell, directed by Matthew Dunster, designed by Paul Wills, with lighting design by Lucy Carter, sound design by Ian Dickinson for Autograph and is produced by David Pugh. 

Theatre Royal Windsor – until 20th May 2023

Reviewed by Ben Jolly

3***

Theatre Royal Windsor kick starts a new season of its Windsor on Air program taking us back to a time gone by with the supernatural comedy, Noël Coward’s Blithe Spirit.

Premiering back in 1941, this Coward classic shows the sanctity of marriage between Charles and Ruth blown to smithereens when a séance led by local clairvoyant Madame Arcati leads to the ghostly resurrection of Charles’ first wife, Elvira… chaos ensues.

The curtain rises on a cool, empty, period-dressed BBC recording studio – like a desolate theatre, the anticipation is palpable.

What has now become a staple of Theatre Royal Windsor’s programming, Windsor on Air is essentially a play within a play. The ensemble arrive at the studio one by one and take their positions, poised and ready, dressed in 50s attire to emulate a time when radio plays were at their height of popularity, attracting the biggest names to perform over the airwaves. We’re even treated to our own foley artist for the event, a feast for the eyes and ears indeed!

Blithe Spirit – rich in its fast and clever witt is a perfect choice for the series. The cast have a wonderful grasp of the language, rhythm, and nuances that are imperative to a Coward play and tackle the piece with gusto.

Tristan Gemmill is a splendid Charles, full of theatricality, he exuberates the charm, humour and rhythm this role deserves. Honeysuckle Weeks finds some wonderful moments in her performance of Elvira, Charles’ first wife and the two actors are fully supported by Ben Nealon and Marti Webb in the roles of Doctor and Mrs Bradman. Our Madame Arcati is played by Jenny Seagrove, who reminds us just how spellbinding this character is.

It is said that in the film and television business they refer to the public as “viewers” but in the theatre we’re called an “audience”, audio – a theatre audience are first and foremost there to listen; I found myself savouring the language in a way I only would get to in a setting such as this and especially when the play is dripping with delicious dialogue does it pay off.

With the huge popularity of podcasts and the rise in demand of audio theatre, I wonder when live radio plays will have their own resurgence over the mainstream wireless? In the meantime, a trip to the Theatre Royal Windsor for their On Air series will be just the tonic.