NEW EARTH THEATRE ANNOUNCES RECIPIENT OF THE 2022 CONSTELLATION CREATIVES DRAMA STUDENT BURSARY
New Earth Theatre today announces that it has awarded the 2022Constellation Creatives Drama Student Bursary to Ami Tredrea from LAMDA. Now in its tenth year, the bursary aims to encourage and promote greater participation and representation of British East and South East Asian (BESEA) actors on stage and screen. Tredrea will receive £1000 and a year’s subscription to Spotlight.
Ami Tredrea is a recent graduate of LAMDA. She recently made her professional stage debut in The 47th at the Old Vic. She will be performing in The Crucible at the National Theatre from September. Her television credits include Three Body Problem.
This year, the judging panel included John Cannon (Casting Director, BBC), Bryony Jarvis-Taylor (Casting Director, National Theatre), Hannah Miller (Casting Director, RSC), Orion Lee (Actor and sponsor of the Bursary) and Kumiko Mendl (Artistic Director of New Earth Theatre). The Bursary is awarded by New Earth Theatre and provided by Orion Lee and Spotlight.
Artistic Director Kumiko Mendl today said: “I couldn’t be more thrilled that this year it goes to LAMDA graduate Ami Tredrea. Ami impressed the panel with her undoubted ability and passion and as a ‘hafu’ like myself, I am so pleased to see more space has opened up in the industry for actors like herself, certainly more than in my day! We eagerly look forward to seeing Ami’s next steps and her contribution to the ever-growing pool of BESEA talent.”
Ami Tredrea comments, “I am extremely grateful to New Earth Theatre for providing this bursary for ESEA graduates. Their support has emboldened me to persevere in this unpredictable career. New Earth Theatre has proven that there is a place for people like me in this industry and I wouldn’t have been so determined to pursue this career if it were not for them.”
THE OLIVIER, WHATSONSTAGE & BROADWAY WORLD ‘BEST NEW MUSICAL’
BACK TO THE FUTURE THE MUSICAL
AT THE ADELPHI THEATRE
IN LONDON’S WEST END
Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce a new cast for BACK TO THE FUTURE The Musical from 17 August 2022, as the show goes into it’s second year at the Adelphi Theatre in London’s West End, currently booking to 12 February 2023. 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.
Ben Joyce, a recent graduate of Mountview Academy of Theatre Arts, who made his professional debut last year as Frankie Valli in Jersey Boys in the West End, will play Marty McFly, joining Tony Award-winning Roger Bart who continues in the role of Dr Emmett Brown. Amber Davies (9 to 5 in the West End and Bring it On: The Musical, UK tour) will play Lorraine Baines McFly, Oliver Nicholas (All Kinds of Limbo, Sundowning & Museum of Austerity for the National Theatre) will play George McFly, Jordan Benjamin (Hairspray at the London Coliseum) will play Goldie Wilson, Harry Jobson (2022 graduate of The Urdang Academy) will play Biff Tannen, Sophie Naglik (The Lion, The Witch and The Wardrobe, UK and Ireland tour) will play Jennifer Parker and Gary Trainor (Dewey Finn in School of Rock, West End and USA tour, Beautiful, West End, I Can’t Sing, West End) will play Strickland. Will Haswell will continue as alternate Marty McFly and Dave McFly and Emma Lloyd will continue as Linda McFly.
New to the ensemble will be Simeon Beckett, Sia Dauda, Tyler Davis, Glen Facey, Dylan Gordon-Jones, Adam Margilewski, Bryan Mottram, Anna Murray, Jon Reynolds, Georgia Tapp and Charley Warburton, joining Amy Barker, Cameron McAllister, Alessia McDermott, Laura Mullowney, Melissa Rose, Justin Thomas 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 12 February 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 Wednesday 19 July and Friday 21 October and no weekday matinee w/c 10 October)
N.B Sunday 11 September will be a signed performance, Sunday 2 October 2022 will be an audio described performance and Wednesday 9 November will be a captioned performance.
Tickets: from £19.55
Please book via the website: BackToTheFutureMusical.com – no booking fees
Full casting is announced for the 70th Anniversary tour of The Mousetrap, the longest running play in the world, which will visit over 70 venues throughout the UK and Ireland from this September.
Joining the previously announced Todd Carty (EastEnders, Grange Hill, Dancing on Ice) as Major Metcalf and Gwyneth Strong (Only Fools and Horses, EastEnders) as Mrs. Boyle will be fellow EastEnders actor John Altman as Mr. Paravicini, Joelle Dyson (Dreamgirls, Funny Girl) as Mollie Ralston, Laurence Pears (Magic Goes Wrong) as Giles Ralston, Elliot Clay as Christopher Wren (The Mousetrap in London), Essie Barrow (The Mousetrap in London) as Miss Casewell, and Joseph Reed (The Nobodies) as Detective Sgt. Trotter.
The genre-defining murder mystery from Agatha Christie, the world’s best-selling novelist of all time, will open at the Theatre Royal Nottingham, where it held its original world premiere in 1952. The iconic thriller will then visit over 70 venues across the country, including all cities to which it originally played 70 years ago, plus many more.
This 70th Anniversary tour marks the first of many ways that The Mousetrap will be celebrating its extraordinary milestone year.
Following its 1952 premiere touring production, The Mousetrap opened in the West End where still to this day, it continues its record-breaking engagement at the St Martin’s Theatre having been performed there over 28,500 times, selling over 10 million tickets.
Opening at Theatre Royal Nottingham on 27 September 2022, the 70th Anniversary tour of The Mousetrap will visit Dublin, Cork, Brighton, Birmingham, Liverpool, Oxford, Bath, Manchester,Norwich, Malvern, Newcastle, Coventry, Southampton, York, Cardiff, Plymouth, Lichfield, Stoke-on-Trent, Woking, Perth, Edinburgh, Glasgow, Cheltenham, Milton Keynes, Sheffield, Inverness, Aberdeen, Blackpool, Hereford, Chelmsford, Dundee, Derby, Bristol, Leeds, Cambridge, Torquay, Buxton, Swansea, Northampton, Truro, Peterborough, King’s Lynn, Guildford, New Brighton, Bromley, and Hastings, continuing throughout 2023 with further venues into 2024 to be announced in due course.
A full tour schedule, further information, theatre listings and ticket purchase through the website MousetrapOnTour.co.uk
As news spreads of a murder in London, a group of seven strangers find themselves snowed in at Monkswell Manor, a remote countryside guesthouse. When a police sergeant arrives, the guests discover – to their horror – that a killer is in their midst. One by one, the suspicious characters reveal their sordid pasts. Which one is the murderer? Who will be their next victim?
The Mousetrap is produced by Adam Spiegel & Sir Stephen Waley-Cohen and Directed by Ian Talbot OBE.
St Helens-born actor returns to hometown this Autumn
Comedy play will run 8 November to 13 November 2022
St Helens-born actor Michael Parr – best known for his role as an Emmerdale bad boy – is returning to his hometown this Autumn to star in raucous comedy Rita, Sue & Bob Too!
It’s not just a return to his hometown, he will also revisit St Helens Theatre Royal to perform – Michael last appeared at the town centre venue when he appeared in Willy Russell’s iconic stage production Blood Brothers in 2005.
Rita, Sue & Bob Too! will run at St Helens Theatre Royal between Tuesday 8 November and Sunday 13 November 2022. Tickets are on sale now from £18. The show is suitable for over 18s only.
The hilarious comedy by Andrea Dunbar is based on the 1987 British film, and features a brilliantly funny script, impressive cast, and is bursting with all the best 80s music, taking audiences on a hilarious trip down memory lane through this cult classic.
Michael will play the role of Bob. He will be joined by a fantastic cast including comedians Crissy Rock as Mother and Duggie Brown as Dad; and St Helens favourites Tori Hargreaves as Michelle; Olivia Sloyan as Sue; and Kay Nicholson as Rita.
Crissy, Duggie, and Olivia reprise their roles of Mother, Dad, and Sue after appearing in the 2016 production of the show.
Previous productions of the comedy at St Helens Theatre Royal proved massively popular, breaking box office records in 2011, 2012, 2015, and 2016.
Rita, Sue & Bob Too! is a comedy, telling the gritty tale of love, lust, and the ultimate test of friendship.
Rita and Sue are two working class girls from a run-down council estate who are about to finish their final year at school. In their spare time, they earn money babysitting for married couple Bob and Michelle.
Behind Michelle’s back, Bob embarks on an affair with both Rita and Sue, who take it in turns with him in his car in the countryside. Michelle eventually finds out and leaves lothario Bob. When Bob later develops a preference for Rita, the two girls fall out but when Sue ends up in an abusive relationship, the trio are reunited.
It’s a welcome return to St Helens for award-winning actor Michael Parr.
After beginning his performing career aged 14, Michael was cast as Amahl in Amahl And The Night Visitors – and has since worked extensively across stage and screen in plays, musicals, TV, and feature films. He is best known for his award-winning portrayal of village bad boy and thug Ross Barton in ITV’s Emmerdale – a role which Michael maintains couldn’t be further from his own real-life personality.
Michael is delighted to be performing in his hometown and returning to St Helens Theatre Royal, having last performed there in 2005 as Mickey in Willy Russell’s Blood Brothers.
Michael commented:“St Helens Theatre Royal is where it all began for me really – this is where I realised that I wanted to be a professional actor. Being back here, it really does feel like things have come full circle, it’s a wonderful feeling. I can only hope that I can inspire someone the way I was all those years ago.”
Rita, Sue & Bob Too!is brought to the stage by Regal Entertainments Ltd and directed by Chantelle Nolan, who is also Theatre Manager of St Helens Theatre Royal.
Director and Theatre Manager Chantelle Nolan added: “This is a very exciting announcement for us – both the return of one of our most popular comedy productions, and for homegrown talent Michael Parr, who last performed on the St Helens Theatre Royal stage 17 years ago when he was just embarking on his successful acting career. He has since gone on to establish himself as a very accomplished and award-winning actor. I am sure that audiences will give Michael and our fantastic cast a very warm St Helens welcome.”
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The Play That Goes Wrong is a hilarious slapstick comedy performance about members of the ‘Cornley Polytechnic Drama Society’ who put on a murder mystery performance of ‘Murder at Haversham Manor’ where everything that could possibly go wrong, does. The comedy begins before the show even starts, with the stage management team from ‘Cornley Polytechnic’ running around the auditorium trying to find a lost dog needed for the show.
The ‘Murder at Haversham Manor’ is chaotic from start to finish with arguments upon stage between the actors, the set falling apart and knocking people unconscious, props falling off the walls and having to be held up, lines being forgotten, and tech team members having to take over the roles of the unconscious.
Each character has their own very different personality when on stage with Max Bennett (Edi De Melo) being incredibly excited to be on the stage and turning to the audience to grin after every entrance and every round of applause. Dennis Tyde (Damien James) on the other hand is far stiffer and more focused, constantly checking his hand for line prompts only to mispronounce the words he is reading.
The acting and audience engagement must be applauded but the true entertainment of the show comes from the set. Nigel Hook has done a sensational job with the set design. Everything from picture frames falling off the walls, doors not opening when they should, and a full set collapse, with no injuries to the cast, was truly impressive.
For me personally, the play is very relatable as it homes in on common aspects of amateur theatre that often go wrong such as line prompts being needed and props not being in the correct place. This was overly emphasised by a hilarious scene that had to be repeated 5 times as lines were incorrectly repeated, leading the dialogue to go round in circles, while the actors became progressively more frustrated.
The audience did not stop laughing while the actors attempted to hold on to their catastrophe of a murder mystery. If you are a fan of slapstick and very physical comedy then this show will not disappoint.
Every theatre performance now starts with a request to silence your mobile phone. For this show, instead of the usual spoken announcement, we were treated to a witty and tuneful sung request which helped set the scene for what was to come.
Adapted from the hit movie of the same name, the show is built around Jenna, played by Chelsea Halfpenny (Casualty, Emmerdale). Jenna is a gifted baker, making fabulous pies with unusual names drawn from her personal life, like IHate my Husband and Take me to the Moon pies, for her local and diner and pie shop. Stuck in an unhappy marriage to the graceless Earl, she feels she is going nowhere until the twin events of an unexpected pregnancy and falling in love with the local doctor set her on a course to a new life.
Navigating these changes will not be easy but, with the support of her friends and colleagues and a certain amount of soul-searching, she eventually arrives at a satisfying and happy conclusion.
But this is not an angst-ridden show; it is feel-good right from the start. The entire cast weave in and out of the action with almost balletic precision, bringing humour and warmth. There are many pieces of visual ‘business’ that delight the eye and are executed so well that you cannot help but smile at how well it has all been done. Ogie, played by George Crawford, gave us some great clowning during his wonderfully choreographed number.
Sarah Bareilles’ songs have witty and often moving lyrics, and are clever, tuneful, and sometimes surprisingly intricate. This is very sophisticated writing, masquerading as simple show tunes.
The entire cast and on-stage band rise to the challenges of performing this kind of material – whether single voice or multi-part, the musicians and singers always created a harmonious backdrop that was completely relevant to the story. No mean feat.
With an ensemble cast of this quality, it is difficult and almost irrelevant to highlight particular musical performances – everybody absolutely owned their part but if I had to single anyone out, Wendy Mae Brown (Casualty, Four Weddings and a Funeral) as Becky, has, arguably, the best voice, with I didn’t Plan It. Old Joe, played by Michael Starke (Brookside’s Sinbad) gets the most touching number with Take it from an Old Man and Chelsea’s She Used to be Mine is a stand-out ‘torch’ performance of a beautiful song.
The Set design is also worthy of mention – apparently simple but not minimalist, each scene was presented without unnecessary detail and the scene changes were achieved without fuss, largely by the cast, clearly showing how well rehearsed the whole production was.
One minor criticism – the sound, whilst never too loud, often lacked a little definition – it wasn’t that the band were too loud, nor the singers too quiet, it just felt like the sound was slightly veiled, making you have to strain sometimes to hear the words, although you could always hear the tune.
We were in a packed house on a Monday night, which should tell you something about how enjoyable this evening was. Although a simple story, it was told with wit and charm and, if you are a lover of musicals, this is a must see.
SOUTH PACIFIC stars Julian Ovenden as Emile de Becquealongside Gina Beck as Ensign Nellie Forbush, Rob Houchen as Lieutenant Joseph Cable, Joanna Ampil as Bloody Maryand Sera Maehara as Liat. They are joined by David Birrell as Captain George Brackett, Stephen John Davis as Commander William Harbison, Antoine Murray-Straughan as Stewpot, Charlie Waddell as Professor and Olly Christopher as Sergeant Johnson. The role of Luther Billis will now be played by Douggie McMeekin who replaces the previously announced Lee Ross. Pierce Rogan will play the role at certain performances.
Credit: Johan Persson
Credit: Johan Persson
Credit: Johan Persson
The cast is completed by Iroy Abesamis, Feline Andersson, Charlotte Coggin, Annabel Edwards, Leslie Garcia Bowman, Sergio Giacomelli, Ellie Jane Grant, Josh Kiernan, Matthew Maddison, Rachel Jayne Picar, Kate Playdon, George Renshaw, Pierce Rogan, Charlotte Scott, Trezel Sergeant,Nikhil Singh Rai, James Wilkinson-Jones and Eleanor Wainwright.
Credit: Johan Persson
Credit: Johan Persson
The production opens at Manchester Opera House on 16 July 2022 ahead of a season at Sadler’s Wells, London from 27 July to 28 August 2022 (with a press night on 4 August 2022) followed by a limited 10-week UK and Ireland Tour visiting Dublin, Newcastle, Birmingham, Glasgow, Cardiff, Nottingham, Edinburgh, Leeds and Canterbury. Chichester’s Artistic Director Daniel Evans, will once again direct Julian, Gina, Rob, Joanna and Sera as they reprise the roles they played to enormous critical and audience acclaim at Chichester Festival Theatre in the summer of 2021. www.southpacificshow.com
Credit: Johan Persson
Credit: Johan Persson
Credit: Johan Persson
This powerful love story, set on a South Pacific Island during World War ll is brought thrillingly to life with a sensational cast of over thirty and a full orchestra in this epic new five-star production directed by Chichester Festival Theatre’s Artistic Director Daniel Evans. SOUTH PACIFIC boasts one of Rodgers & Hammerstein’s most memorable scores, and this much-loved Tony and Pulitzer Prize-winning musical features songs such as “Some Enchanted Evening”, “I’m Gonna Wash That Man Right Outa My Hair” and “Bali Ha’i”.
Credit: Johan Persson
Credit: Johan Persson
Credit: Johan Persson
SOUTH PACIFIC is directed by Daniel Evans, with set and costume design by Peter McKintosh, and choreography and movement direction from Ann Yee. The Musical Supervisor is Nigel Lilley, Musical Director is Cat Beveridge and new orchestration is by David Cullen, with original Broadway orchestration by Robert Russell Bennett. The lighting designer is Howard Harrison, sound designer is Paul Groothuis, video designer is Gillian Tan, additional arrangements and Happy Talk orchestration is by Theo Jamieson, casting director is Charlotte Sutton CDG and additional children’s casting by Verity Naughton.
Credit: Johan Persson
Credit: Johan Persson
SOUTH PACIFIC is produced by Jamie Wilson, Jonathan Church Theatre Productions and Gavin Kalin.
New Wimbledon Theatre Studio – until 10th July 2022
Reviewed by Carly Burlinge
5*****
Wimbledon Studio brings you the story of The Princess and the Dragon. Isola (Charlotte Ellen) is a princess with much ambition, but her time is now to become a Queen, where she is locked up in a tower by her father waiting for the perfect suiter to take her hand in marriage. But Isola is unhappy as she wants the freedom to be able to choose in life for herself. She didn’t choose to be princess and underneath it all she feels she’s just like everyone else. During her time locked up in the tower she makes friends with Dragon (Emily Carding) who flies up daily to visit her and keep her company. Together the two form a friendship and when Dragon sees that Isola is sad and unhappy knowing that he is also very lonely. He hatches a plan to give her the freedom she so truly wants and the company and friendship that he longs for. He offers to fly her away from all the expectations, onto a new adventure with no more rules or limits to a brave new world where she can be set free. Isola jumps at the chance and jumps onto his back where he whisks her away to his cave. She soon realises that things are not so great after all and that living in a cave with a dragon who keeps telling her what to do and leaving her to go out flying, again makes her feel trapped only in another way. From the cave she can see her whole kingdom that was once hers and decides to go back and talk to her parents. She feels her story is waiting and she’s going to let her heart lead her and in order to get home, courage will come from within. Dragon on the other hand is furious she is leaving and thinks she is ungrateful as he feels he has given her the world.
This production is about friendship and how we treat others along with the outcome and responsibilities of our actions. It was fun to watch with some great songs and adventures along the way. Full of emotions such as happiness and sadness and about finding out who you really are.
The set was very simple but had lots to offer in small props in order to tell the story with great costumes. Because it was a small venue it just felt more personal, and the children really seemed to enjoy themselves. I especially enjoyed the fact that the children could meet the Princess and the Dragon at the end and have their photo taken, making it even more special for the little ones. All in all, a very enjoyable production that is great for kids as well as adults
The Carpenters Story is (as the flyer announces) “a musical journey through the glittering career of pop’s most famous brother and sister duo”. And that is exactly what you get!
The stage is a minimalist affair with the band performing in front of two large photos of Richard and Karen and a large video screen where a faux Radio Presenter began by giving us some background to the show and songs, including some truly hilarious news snippets for context of the Carpenters times (you could substitute Nixon for Johnson to bring that right up to date). This was a real bonus – complimenting the on stage action but never getting in the way of the reason we were there; the songs.
Where else to start but “We’ve Only Just Begun” and what a clever move to have Karen on the screen “singing” so that we could be fooled into thinking it was her we were listening to. In fact our lead vocalist tonight, Claire Furley, was already on stage, unlit, ready to be revealed by the spotlight showing just how good (and Karen like) she is! Beyond her gorgeous voice, it was a joy to see Claire thoroughly enjoying herself and the music so much. Her beautiful smile was infectious.
Phil Aldridge, Musical Director and pianist (ably filling Richard’s shoes), has a natural humor and was a very personable host. I particularly enjoyed his personal anecdotes which show how much he loves the music we are here to celebrate.
As you would expect, the hits just kept on coming and coming. In fact, there’s so many to be squeezed in that a medley of tunes was needed, so that we could have at least a snippet of those much cherished songs. A really well thought out set list, displaying a care and attention to detail (and to the fans) that is a credit to the show
The band was top notch and was proudly presented by Phil, giving each musician a moment in the spotlight to wow us (which they did). I’ll be honest, the saxophone has never been my favourite but Lynne Walker has opened my eyes to the breathtaking beauty of the sax. She also played flute and percussion and was simply sensational!
Perhaps the highlight of the show was “I Need To Be In Love”, Karen’s favourite song, presented in its original piano and vocal version which was very moving indeed. A fitting tribute. Then, aptly “Goodbye To Love” brought the set to its very much unwelcome close – as the multiple standing ovations attested to, we could have happily gone on all night! That the performers didn’t try to look like the carpenters and kept the presentation simple was a perfect approach – this was all about the music and was all the better for it. A sheer delight from start to finish and one that I cannot wait to catch next time they are near. Truly a show to make one feel on “Top Of The World”.
A-Typical Rainbow – Maybes are confusing, so it’s a good job this play is a definite success!
A-Typical Rainbow is a play written, and starring, JJ Green and produced by Aria Entertainment.
The play will run at The Turbine Theatre until 7th August before hopefully being picked up to continue in a new location. This piece of theatre is extremely important and needs to be seen by as many people as possible, it has the possibility to change the theatre as we know it.
This unabashed, unapologetically authentic tale of growing up as Autistic and LGBTQ+ is both heart-warming yet heart-breaking, the way JJ has balanced the sweet and comedic moments with the hard-hitting truths of life is phenomenal.
From touching on socialising as a child, to retaining relationships as an adult, A-Typical Rainbow follows the life of ‘Boy’ as he receives his diagnosis, undergoes therapy and the life that he leads as a result of this.
As someone who is Autistic, I was both excited but also scared to see this production, I was scared that it would either be too close to home, or that it would portray Autism in a way that I didn’t relate to, but there was no need to be scared, this piece of art is one of the most true-to-life shows I have ever seen.
One memorable scene is where the Doctor turns to Boy and asks “How do you feel?” and Boy responds “I don’t” such a short piece of dialogue is so incredibly strong and meaningful – people often would rather people have no emotion at all rather than be ‘over’ emotional.
One thing that people need to know about Autism is that it is different for each individual person, whilst there are certain traits that will be more widespread or more well known, it’s not as simple as a checklist or a bingo card of symptoms, yet JJ seems to somehow cover this universal spectrum in a way that can only be described as magical.
I have never felt more ‘seen’ than I have whilst watching A-typical Rainbow. To me, this is what theatre is all about.
It is powerful, it is thought-provoking, and it is what this industry needs.
This show will spark conversations that have the power to change how the industry treats disabilities – that is how important this play is.
Director Bronagh Lagan and set designed Frankie Gerrard have worked together to create a beautiful set that is so simple yet so incredibly effective. There is a set of boxes that never leave the stage, yet there are scenes in a school, by a pond, in a bedroom and even in a circus. The was this tiny stage has been transformed deserves all of the praise.
Throughout the show, the use of projections helps to give the ‘imaginary’ scenes that extra ‘oomph’ to allude to the magic, ethereal feeling that Boy feels whilst travelling through his imagination.
Alongside JJ Green as Boy, five other cast members help bring the story to life. James Westphal, Conor Joseph, Joy Tan and Maya Manuel are all incredible in the multiple roles they play throughout the show.
Highlights are Conor’s rendition of a court judge, Joy’s portrayal of loveable Thomas, and Maya’s impeccable depiction of repellent Emily.
Let’s not forget swing Jack Chambers who has to be prepared to hop on stage at a moment’s notice to play any of the main ensemble.
Other than JJ, the only other cast member who dedicated their energy to one role is Caroline Deverill who portrays a struggling mother who is just trying to do what’s best for her son whilst balancing family life and a strained relationship.
Caroline has multiple audience-facing monologues throughout the show that are tear-jerkers and left me in awe. It shows the difficult decision a mother goes through to decide what to do and when to do it, knowing that if it goes wrong – it’s all on her.
One thing that JJ has done perfectly, though, is the complete lack of blame. Whilst there are hints of the world being cruel, and schools being useless with bullying, overall there is no ‘blame game’, the struggles that Boy goes through are not the Mother’s, Father’s or Doctor’s fault – nor are they Boy’s, thems the breaks. (If you know, you know)
Using a quote from the show “he will get overwhelmed growing up in a world that isn’t built for him” the struggles aren’t down to one individual, it’s society as a whole. Yet, if more people saw this performance, I believe attitudes would quickly begin to change.
There are a plethora of details throughout the show that are so cleverly done, from Boy’s sensitivity to sounds and scents to his preference for comfy/baggy clothes and through to the repetitive use of his comfort song.
Regardless of the scene or wardrobe choice though, Boy constantly has a lock on a chain around his neck – this is never literally explained, it is down to the audience to give it a figurative meaning.
To me, the fact it was locked after starting ABA therapy, shows how the therapy caused him to hold back and lock away his true self in order to blend into society – regardless of what it was doing to him internally. As soon as the lock was placed on him, he was unable to reach his imaginary world anymore and his creativity was stunted, to see that lock get removed at the end was an emotional moment.
The raw emotion emanating from the talented cast is palpable and you can tell just how much this show means to them.
Do not miss this show, it’s at The Turbine Theatre until 7th August and tickets are only £25!
