This is a unique performance by a modern day minstrel, traveling from Orkney to Sussex on his trusty bicycle, loaded up with his instruments and everything he needs. This is positive action by Richard Durrant to emphasise that climate change is real and we must all look after our planet. He travels alone, with no back up vehicle and definitely no battery on his bike! With this scene set, Richard delivers a programme ranging from the signature tune from Watch with Mother to Bach!
Standing bare foot with his bike behind him, Richard provides a relaxed evening of beautiful music in the solstice sunshine, with songbirds sometimes singing along. Richard weaves his music with a warm and earthy dialogue, sharing moments from his journey, both musically and on the road. The opening piece is Bach’s 3rd Cello suite, played on a ukulele! Switching to guitar, he provides an insight into the influencers of his music, then his own compositions and closing with a Bach piece written for violin. The passion with which he plays is all encompassing. Music flows from his fingers with speed and dexterity. His skill as a composer and a player come together in a performance to enthral. Richard is able to create a picture of his composing process with words and then illustrate it in technicolour music.
Whatever your taste in music, it would be hard not to enjoy the warm embrace of a well-played tune. Richard Durrant confidently opens the door to classical music for all ears. Come and listen!
EMPIRE THEATRE, LIVERPOOL – UNTIL SATURDAY 25TH JUNE 2022
REVIEWED BY MIA BOWEN
5*****
It has been more then 70 years since the release of the iconic 1952 film Singin’ in the Rain and more then 40 years since the stage musical had its’ world premier in 1983 at the London Palladium. Stage musicals that are based on old films are so enjoyable because they create such a sense of nostalgia for a time many of us never knew. It is so exciting to see a classic film brought to life and last night this production made a big splash at the Empire Theatre.
Set in Hollywood during the late 20’s, in the waning days of the silent screen era, Monumental Pictures find themselves competing in the whole new realm of talking movies. Romantic lead Don Lockwood (Peter Nash) and his leading lady Lina Lamont (Jenny Gayner) are on-screen sweethearts and together, cinema gold! Lamont may look like a goddess but her not so pleasing to the ear vocal tones, make her an unlikely candidate for stardom in talking pictures. Lockwood’s sidekick Cosmo Brown (Kevin Clifton) masterminds a plan to save the production company from being transcended by their rivals. Aspiring chorus girl and Lockwood’s love interest, Kathy Selden’s (Charlotte Gooch) comes to save the film.
This was a sensational production. The set (Simon Higlett) was a replica of a sound stage which was transformed into a number of different places such as the Grauman’s Chinese Theatre and an office inside the sound stage. The lightning (Tim Mitchell) created different atmospheres throughout the production. The costumes (Karen Large) were utterly breathtaking, the glittering dresses and fur shawls took you back to the golden age of Hollywood. The score played by a live orchestra, directed by Grant Walsh, was packed with classic numbers including ‘Make Em Laugh’, ‘Moses Supposes’ and ‘Good Morning’. The choreography by Andrew Wright was superb.
The scene we were all waiting for… Singin in the Rain of course, with a lamp post, umbrella and torrential rain pouring onto stage… It really was a WOW moment that surpasses the film. The production uses a special water system that creates a downpour from above and recycles over 12000 litres of water on stage every night!
While the leads are the standouts of this musical, the entire ensemble deserves a mention and great praise, they have so much energy on stage, and there is just something about live tap dancing. However, for me the show was stolen by Jenny Gayner, who played Lina Lamont, she brought real comedy and received most of the audience laughs.
Musicals do not get any better. Singin’ in the Rain had me dancin’ in my seat. True magic theatre that evokes that old Hollywood glamour, deserving of the standing ovation it received last night!
Michael Morpurgo’s Private Peaceful comes to stage at Richmond theatre Adapted by Simon Reade.
Private Peaceful tells the story of two brothers Tommo (Daniel Rainford) and Charlie (Daniel Boyd) as they transition from their childhood to adulthood with much change and challenges along the way! They face the loss of their Father James (John Dougall) and after this sad time, the family suffer and go through hardship in which they stick together and muster through. As we watch the boys navigate through a childhood that’s beautiful and rural in the countryside of Devon with much to explore. School then starts and they meet Molly (Liyah Summers) who eventually they both fall in love with and thing become competitive and slight rivalry becomes apparent and things change! They both get jobs and continue on in life but when life seems challenging enough WW1 Starts and the brothers go and fight for their country which changes everything!
I really enjoyed watching Charlie, Tomo and Molly together on stage as children they played their parts extremely well watching friendship forms and in a fascinating place of woodlands running around having fun. Was great to watch their transition to adults with some great acting and expressions along the way. They had a great connection on stage for all to see.
Charlie plays the true protector of the family has a lot of love. Molly plays a cheeky daring but happy character and Tommo seems to think that things in life just are not fair!
The stage was interesting – set as a forest in the rural Devon Country side with large tree like sections as paths across the stage. The cast were able to walk up and around these, making good use of all the stage along with grass and flowers set about. From each side of the stage trees were situated but with wire for the branches making their sharp curved like shapes across the top of the stage giving it a fantastic look. With an easy adaption with sound and lighting taking you to WW1 frontline!
Music, sound and lighting played a massive part in this performance with a big backdrop changing colour to enhance certain scenes as well as the loud thundering noise that gave it a dramatic change from one scene to the next. Very cleverly done and amazing to watch.
I took my daughter to see this production as she has read most of his books and it’s also aimed at the younger ones. We thought that it was a great show and had a thoroughly enjoyable evening, definitely one to go and take the kids too and done fantastically well.
Alhambra Theatre, Bradford – until Saturday 25th June 2022.
Reviewed by Aimee Liddington
4****
It’s the 1980’s and Ren McCormack has just moved from the vibrant bustling city of Chicago to the much less impressive town of Bomont. Ren quickly settles into his new life but one thing seems to be troubling him: he just can’t stand still and that’s exactly what the town has ordered him to do. According to the law in Bomont, dancing of any kind is prohibited but despite his better judgement, Ren just can’t stop moving his feet. Through the ups and downs of teenagehood, Ren shows us that anything is possible if you want it enough.
The seemingly ridiculous tale of a town that banned dancing is actually based on a true story and we have creator Dean Pitchford to thank for bringing it all the way from Midwest America to our stages today. Inspired by a few lines read in a newspaper in 1979, Pitchford wrote his first draft of the critically acclaimed film ‘Footloose’ and it was finally released in 1984. Nearly 15 years later, the show opened on Broadway and has been performed around the world ever since.
The first UK production opened in 2004 and the amazing touring cast of today are certainly doing this well known and loved musical justice. The talents of the entire ensemble are to be commended with a full set of musical talents ranging from their ability to sing unwavering notes or play a range of instruments whilst moving energetically around the stage to the ability to act and engage with the audience spontaneously and charismatically. In what could be a chaotic whirlwind of events, Director Racky Plews alongside Choreographer Matt Cole and Set and Costume Designer Sara Perks seem to create order on the stage and make the scenes visually appealing for the audience.
Lucy Munden who is making her professional debut in Footloose as Ariel Moore astounds the audience with her strong singing voice and her rendition of ‘Holding Out for a Hero’ is spectacular. Even more beautiful is the emotion displayed in ‘Almost Paradise’ which is duetted with Joshua Hawkins who plays the part of Ren McCormack. Other strong singers are Holly Ashton who plays Vi Moore and Wendy Paver who plays Ethel McCormack. The talents of these three women are showcased in ‘Learning to Be Silent’ which tells the all too familiar story of the silent role women played for so many years.
A review would not be completed without a mention of Jake Quickenden who plays the role of Willard Hewitt. The moment Quickenden appears on the stage, the energy changes and his ability to play the simple but cheeky chappy has the audience giggling and gasping throughout. He appears to be an all rounder showing himself as a talented singer, actor, dancer and musician and his showmanship is evident.
If you’re looking for a show which will have you dancing and singing along in your seat and will have you up out of your seat by the end, it’s time to cut loose and go and see Footloose.
Michael Luwoye (Hamilton) plays the title role of Nelson Mandela, with Danielle Fiamanya (Frozen) as Winnie Mandela.
Tickets for this new musical go on general sale on Tuesday 12 July.
Young Vic
Mandela
Book by Laiona Michelle
Music and Lyrics by Greg Dean Borowsky and Shaun Borowsky
Directed by Schele Williams
In proud partnership with Nandi Mandela, Luvuyo Madasa and the Mandela family
Co-produced by special arrangement with Nandi Mandela, Luvuyo Madasa, Shaun Hurwitz, Ronen Zekry, Greg Dean Borowsky, Shaun Borowsky and Brian & Dayna Lee
Main House
29 November – 4 February 2023
“A new spirit has gripped our nation!”
“Together is where tomorrow’s promise lies”
The Young Vic today announces the cast and creative team for the world premiere of Mandela, a new musical that tells the story of Mandela the man and the movement behind him. Featuring a book by Laiona Michelle, music and lyrics by Greg Dean Borowsky and Shaun Borowsky, and directed by Schele WilliamsMandela is presented in proud partnership with Nandi Mandela, Luvuyo Madasa and the Mandela family.
Infused with the rhythms and spirit of South Africa, Mandela shines a light on the South African people’s courageous fight for their liberation. For 27 years, Mandela and his comrades sacrificed their freedom and their families paid the price. It is a story of determination, hope and how the world rallied to free him and his people.
Michael Luwoye and Danielle Fiamanya play Nelson Mandela and Winnie Mandela with Gregory Armand as Vusi, Zion Battles as Bongani, Earl Carpenter as the Prime Minister, Stewart Clarke as the Warden, Hanna Dimtsu as Nomsa, Lerato Gwebu as Adelaide Tambo, Prudence Jezile as Praise Singer, Akmed Junior Khemalai as Walter Sisulu, Blue Makwana as Gugu, Kayleigh McKnight as Barbara, Posi Morakinyo as Thembi Mandela, Sneziey Msomi as Albertina Sisulu/Maki Mandela, Ryan O’Donnell as Joe Slovo, Adam Pearce as Kobus, Shiv Rabheru as Ahmed Kathrada, Will Richardson as Piet, Leanne Robinson as Zindzi Mandela, and Ntsikelelo Nicholas Vani as Oliver Tambo. Further casting to be announced.
Mandela features additional music & lyrics by Bongi Duma, with choreography by Gregory Maqoma, set design by Academy Award winner Hannah Beachler, costume designs by Fay Fullerton, sound design by Paul Gatehouse, lighting design by Tony Award and Olivier Award winner Jon Clark, orchestration and musical supervision by Benjamin Kwasi Burrell, music direction by Sean Mayes and casting by Pippa Ailion CDG and Natalie Gallacher CDG. Completing the creative team are Associate Choreographer Dickson Mbi, Assistant Director Becca Chadder, Associate Set Designer Debbie Duru, Associate Music Director Sam Young and Associate Casting Director Richard Johnston.
Mandela will be broadcast live for four performances as part ofBest Seat in Your House, the Young Vic’s immersive multi-camera player that allows audience members to pick their preferred camera angle during the live show. The broadcast experience is designed uniquely for the production, with multiple cameras positioned to offer unique perspectives of the show. Captions, audio description and BSL-interpretation will be available for every stream. Tickets for Best Seat in Your House broadcasts of Mandela will go on sale later in the year.
The development of Best Seat in Your House was made possible with public support from the UK Government’s Culture Recovery Fund. Additional generous support was provided by the Genesis Foundation’s Genesis Kickstart Fund.
Relaxed Performance: 4 January 2023, 7.30pm
Socially Distanced Performance: 21 December 2022, 7.30pm
BSL Performance: 13 December 2022 & 12 January 2023, 7.30pm
Audio Described Performance: 19 December 2022,10 & 24 January 2023, 7.30pm
Captioned Performance: 15 December 2022 & 5 January 2023, 7.30pm
Best Seat in Your House broadcasts: 19, 20 & 21 January 2023, 7.30pm and 21 January 2023, 2.30pm
featuring sparkling songs, sassy story-telling and Liberace-level costumery
Wash away the last of the pandemic blues with a non-stop parade of big hits, belly laughs, and booming vocals from queer cabaret legend Dr Adam Perchard as the world premiere of their fabulous new show Dr Adam Perchard’s BATHTIME FOR BRITAINheads off on tour.
The 2022/23 tour will sashay into the Swan Theatre, Worcester (7July), Ironworks Studios, Brighton (26 August), The Princess Royal Centre for Performing Arts, Guernsey (2 September),Theatre Royal Winchester (8September), Aberystwyth Arts Centre (11 November) and Lawrence Batley Theatre, Huddersfield (23 January) and Epstein Theatre, Liverpool (16 March). Further tour dates will be announced. A shorter version of the show will be performed at the National Theatre’s River Stage on 16 July 2022, as part of The Glory’s weekend takeover.
Cabaret icon Dr Adam Perchard lost all of their work almost overnight when the pandemic hit. Broken-hearted, they had to leave their wild, hedonistic London life and move back to their parents’ farmhouse in Jersey. As a teenager, Adam spent hours singing in their bathroom, dreaming of a life on stage. Now, that life they had built was gone, and here they were again. Adam walked back into the bathroom, took a deep breath, and started to sing. After posting videos of some of these bathtime songs online, Adam quickly became a sensation on the locked-down island. Jersey Arts Centre spotted them, and commissioned a live show. Everything snowballed from there. Adam has been able to step through their bathroom mirror back into the life they dreamed of – one epic pop hit at a time!
David Bowie, Kate Bush, Queen and Whitney are among the host of stars given a glow-up in Dr Adam Perchard’s life-affirming journey through the imagination. Swings, showers of rose petals, camp deities, dancing cakes, and enough rhinestones to clad the Millennium Dome… all add up to one joyful realisation: that sometimes it can take a lockdown to unlock you.
Dr Adam Perchard is a critically acclaimed, and proudly nonbinary, singer, comedian, playwright and poet. They’ve performed at the National Theatre, London Coliseum, Soho Theatre, Hackney Empire and on Channel 4. They were the lead writer and performer of hit queer comedy trio SEX SHELLS, and starred in Jonny Woo’s All-Star Brexitand The Courtney Act Show.A trained opera singer armed with a handy PhD in postcolonial literature and the ability to make a cloak out of anything, they’re a London nightlife legend, hosting notorious parties like The Men Who Fell To Earth.
Dr Adam Perchard’s BATHTIME FOR BRITAINis a wild night on the tiles for all party-lovers, pop-enthusiasts, theatre luvvies, comedy connoisseurs and members of the LGBT+ rainbow family. A hot, foamy mixture of live singing, sassy story-telling, witty re-writes and Liberace-level costumery, this heart-warming extravaganza will leave you screaming for more.
BOOKING PERIOD NOW EXTENDED UNTIL 17 DECEMBER 2022
Andrew Lloyd Webber and Cameron Mackintosh are delighted to announce new casting for THE PHANTOM OF THE OPERA at Her Majesty’s Theatre from Monday 1 August 2022 as the production extends its booking period until 17 December 2022.
Killian Donnelly will continue as The Phantom alongside Lucy St. Louis as Christine Daaé. Joining them will be Matt Blaker as Raoul and Kelly Glyptis as Carlotta. Also continuing in the cast are Matt Harrop as Monsieur Firmin, Adam Linstead as Monsieur André, Greg Castiglioni as Ubaldo Piangi, Francesca Ellis as Madame Giry and Ellie Young as Meg Giry. At certain performances the role of Christine Daaé will be played by Holly-Anne Hull.
The cast is completed by Hollie Aires,Connor Carson, Corina Clark, Edward Court, Michelle Cornelius, Lily De-La-Haye, Hywel Dowsell, Serina Faul, James Gant, Eilish Harmon-Beglan, Emma Harris, Yukina Hasebe, Thomas Holdsworth, Olivia Holland-Rose, Jacob Hughes, Grace Hume, James Hume, Tim Morgan, Michael Robert-Lowe, Eve Shanu-Wilson, Tim Southgate, Anouk Van Laake, Jasmine Wallis, Rafe Watts, Skye Weiss, Simon Whitaker, Lizzie Wofford and Andrew York.
Matt Blaker returns to The Phantom of the Opera having previously been in the ensemble and covering the role in the Original Production. His other theatre credits include the UK tour of Joseph and the Amazing Technicolor Dreamcoat, the international tours of Jersey Boys and Jesus Christ Superstar and most recently playing Billy Bigelow in Carousel at Kilworth House. His television credits include Netflix’s The Crown.
Kelly Glyptis’ operatic credits include Madeleine, Cosi fan tutte and Le nozze di Figaro. Her other theatre credits include the North American tours of The Sound of Music, Into The Woods, Mary Poppins, West Side Story and The Addams Family.
THE PHANTOM OF THE OPERA is produced by Cameron Mackintosh and The Really Useful Group Ltd. Music by Andrew Lloyd Webber, Lyrics by Charles Hart, and Additional Lyrics by Richard Stilgoe. Book by Richard Stilgoe and Andrew Lloyd Webber, based on the novel ‘Le Fantôme de l’Opera’ by Gaston Leroux, with Orchestrations by David Cullen and Andrew Lloyd Webber. Musical Supervision is by Simon Lee. The Production Design is by Maria Björnson and the Set Design is adapted by Matt Kinley with Associate Costume Design by Jill Parker, Lighting is by Andrew Bridge with Associate Lighting Design by Warren Letton, Sound is by Mick Potter. The Musical Staging and Choreography is by Gillian Lynne, recreated and adapted by Chrissie Cartwright. Originally Directed by Harold Prince, this production is Directed by Seth Sklar-Heyn.
Casting was announced today (20 June 2022) for the smash-hit production of C.S. Lewis’ classic The Lion, the Witch and the Wardrobe, which will make its West End premiere this summer at the Gillian Lynne Theatre, Drury Lane, London. The show, which begins rehearsals today, is produced by the same team that recently won 5 Tony Awards for its production of Company on Broadway.
The Lion, the Witch and the Wardrobe, which has been seen by a quarter of a million people on its recent nineteen-week tour of the UK and Ireland, will begin performances in London on 18 July 2022 and play a strictly limited season through until 8 January 2023.
Joiningthe already announced Samantha Womack as the White Witch are original tour cast members Ammar Duffus as Peter, Shaka Kalokoh as Edmund, Robyn Sinclair as Susan and newcomer Delainey Hayles as Lucy. Other cast members reprising their roles are: Scott Brooks (Mr Pope and Fox Trot), Rachel Dawson (Miss Chutney, Blue Badger and Spirit of the Moon), Oliver Grant (Mr Wilson, Schrodinger, Red Squirrel, Head Cruel, Aslan Puppeteer and Resident Director), Chris Jared as Aslan, Matthew James Hinchliffe (Mr Marsden, Mauve Mole and Music Captain), Shaun McCourt (Mr Granville, Jack Rabbit, Aslan Puppeteer and Puppet Captain), Christina Tedders (Mrs Beaver), Jez Unwin (Mr Tumnus) and Johnson Willis (Professor Kirk, Father Christmas, Wise Owl and White Mouse).
Actors new to the production are: Myla Carmen (Swing), Jasmin Colangelo (Swing/ Dance Captain), Julian Hoult (Mr Beaver), Ashlee Irish (Swing), Sean Lopeman (Mr Brinkworth, March Hare, Aslan Puppeteer), Micha Richardson (Mrs Pevensie and Robin), Ciaran Roger (Swing), and Charlotte-Kate Warren (Miss Gumley Warmly and Phoenix). Maugrim, Solider, Satyr and White Stag still to be cast.
The Lion, the Witch and the Wardrobe is proud to be part of London’s much-loved audience initiative, Kids Week. Throughout August, kids aged 17 and under can see a show for free when accompanied by a paying adult, with half price tickets for two additional children in the same group – and no booking fees. Kids Week tickets are on sale now via OfficialLondonTheatre.com.
Created by the Society of London Theatre, Kids Week is one of the biggest, longest-running audience development initiatives in the world, engaging nearly 1.7 million children and families since it began in 1998.
Step through the wardrobe into the enchanted kingdom of Narnia. Join Lucy, Edmund, Susan and Peter as they wave goodbye to wartime Britain and embark on the most magical of adventures in a frozen, faraway land where they meet Mr Tumnus the faun, talking beavers, Aslan (the noble king of Narnia) and the coldest, most evil White Witch.
C.S. Lewis’ book (published by HarperCollins) has been engrossing readers young and old for over 70 years, has sold 85 million copies in 60 languages and is one of the top ten best-selling books of all time. More information about C.S. Lewis from www.narnia.com.
Samantha Womack played the lead role in the sold-out production of The Girl on the Train in the West End and on tour. Her past theatre roles include the Tony award-winning production of South Pacific in which she starred alongside Patrick Swayze, Guys and Dolls at London’s Piccadilly Theatre (directed by Michael Grandage) and playing Emma in an award-winning production of Harold Pinter’s Betrayal (directed by Sir Peter Hall). Her varied work on television has seen Samantha moving from comedy to drama with the cult success of BBC’s Game On and Babes in the Wood to ITV’s gritty crime drama Liverpool 1, Imogen’sFace and Ronnie Mitchell in EastEnders. Films include playing the unhinged mother of Eggsy in the The Kingsman franchise sharing the screen with Colin Firth and Samuel L Jackson and playing Hazel in Jon Godber’s Up ‘n Under.
Director Michael Fentiman said: “I’m delighted to be bringing our production of The Lion, The Witch and the Wardrobe to the Gillian Lynne Theatre. The production celebrates the magic of live theatre and is led by a multi-talented cast of actors, singers, musicians, dancers and puppeteers; it is a celebration of the possibilities of the collective imagination and the boundless wonders of individual skill.
This story, about a community battling hardship in the darkest of winters, who together find freedom again in the light of summer, couldn’t be more pertinent for these times.”
Tony award-winning producer Chris Harper said: “This wonderful production has been delighting audiences up and down the country and I am so thrilled that we can bring this magical family show to the West End this summer. We can’t wait for children and adults alike to join us on this spectacular journey through the wardrobe”
The Lion, the Witch and the Wardrobe is produced by Elliott & Harper Productions and Catherine Schreiber and was first produced at the Leeds Playhouse.
Are you ready for a Roaring time? My 3 boys (grandkids) certainly were, they love dinosaurs and couldn’t wait to watch Dinosaur World Live, an interactive show aimed at the all the family from the age of 3.
The stage is atmospheric, with a hint of smoke emanating throughout. We get to meet the very animated Miranda, who introduces herself and tells us about growing up with her palaeontologist parents. On their travels they discovered an island where dinosaurs still lived, and she is eager to show us a few of their amazing finds.
What follows is a journey and discovery of different dinosaurs. As well as the more common Triceratops and T-Rex, we get to see a Segnosaurus, a furry plant eater with huge claws, a Giraffatitan, who is a new mummy and a Microraptor with its resplendent blue feathers. I mustn’t forget the baby triceratops, a true babe in arms, the young T-Rex and the Giraffatitan hatchling.
Each time a new dinosaur was introduced, a child was picked from the audience to feed, stroke or brush them. A fabulous memory for those lucky children, who were all so well behaved and they left the stage with huge grins on their faces. There was more audience participation when we were encouraged to shout out if the eagerly awaited egg started to move and show signs of hatching. We also managed to tame, well to some extent, the T-Rex into behaving herself. All huge fun and a great interactive experience.
All the dinosaurs are puppets, manipulated expertly by wrangles, really bringing them to life. We were all transfixed by how realistic these puppets were, you honestly forget that all their movements are made by the ever-present puppeteers.
This 50-minute show was over far too soon, but afterwards we all got an opportunity to meet with the young T-Rex. We eagerly joined a queue, where everyone got the chance to stroke the puppet, though with several lining up at the same time, it felt a bit rushed. I did have difficulty in trying to capture the whole experience with my camera, as the stage was quite high and I had the youngest in my arms, the boys didn’t seem to mind though, they got to touch a “real” dinosaur.
This is a wonderful experience for those dinosaur loving children and a great introduction to live theatre.
So it Goes Theatre’s production of Nellie Bly’s Ten Days in a Madhouse is an intimate and unsettling immersive experience. In 1887, she ambushed the editor of the New York World in his office and, refusing to accept the usual lifestyle assignments handed to women journalists, went undercover to investigate conditions at the asylum on Blackwell’s Island.
Adapted and directed by Douglas Baker, the play doesn’t expand Nellie’s world for dramatic impact, instead using the immersive technology to create a sense of claustrophobic isolation alongside Nellie, while at the same time distancing the audience from the events just as the readers of the newspaper would have been. The distance, created physically by Lindsey Huebner performing behind a scrim used to project animations of characters and the use of headphones, and emotionally by the women in the asylum being represented by balloons or scratchy animation with negative faces (often resembling skulls) as Nellie describes her time in the asylum. The switch from negatives to photographs as the women’s names are listed at the end of the play reminds us that these were real victims and reclaims their humanity that was destroyed on Blackwell’s Island, making the lack of consequences for those responsible even more frustrating. Some things never change.
Lindsey Huebner gives an incredible performance as Bly, interacting with projections and recorded voices seamlessly. Her transition from self-congratulatory confidence as she first convinces the women in the “Temporary Home for Working Females” that she is mentally unstable to fear as the repetitive daily routine of brutality wears her down is written and acted so well that it is upsetting to watch. The Victorian attitude to women – the editor calls her “sweetheart” in every sentence –and the ease with which unwanted women could be disposed of by a man claiming they were insane, are highlighted in a series of faux adverts that lighten the mood with their laughable misogyny, but whose catchphrases crop up again and again in Nellie’s report as she struggles to keep hold of her sanity. The atmosphere created by Douglas Baker’s exquisite video design, together with Calum Perrin (sound) and Jonathan Simpson (lighting) effortlessly evokes the stuffy Victorian office and gloomy, filthy asylum, while the sequence where Nellie experiences the iced water bath manages to be both beautiful and disturbing.
Ten Days in a Madhouse is an ambitious and devastating production – unmissable.
