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★★★★★ Financial Times, The Daily Mail, The Sunday Mirror, The Daily Mirror, The Stage, The Sunday Express, Gay Times, WhatsOnStage, The Express, Broadway World

“a buzz louder than a doodlebug surrounds Operation Mincemeat…a kind of genius declares itself”

Dominic Cavendish, The Telegraph

 
★★★★ The Sunday Times, The Observer, The Telegraph, The i, The Independent

“a little show with a very big future”
David Benedict, Variety

25^th May – It was announced today that Operation Mincemeat, a new musical, has extended its run by two weeks until 23^rd July at Riverside Studios.

Tickets are on General Sale now from the Official Box Office at OperationMincemeat.com

The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse. 

After sold-out runs at the New Diorama Theatre in 2019 and Southwark Playhouse in 2020, 2021 and earlier in 2022, Operation Mincemeat is back for a 10-week run in its new home Riverside Studios. Having spent lockdown rewriting the show, weeping and eating biscuits, SpitLip has extended the run of this newer, bigger and (somehow) even better version.

Singin’ in the Rain meets Strangers on a Train, Noel Coward meets Noel Fielding, Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won us World War II. The question is, how did a well-dressed corpse wrong-foot Hitler? 

Operation Mincemeat won The Stage Debut award for Best Composer/Lyricist, the Off-West End award for Best Company Ensemble and was listed in the Observer’s Top 10 shows of the year.  The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and supported by the Rhinebeck Writers Retreat with additional support from Avalon. 

Riverside Studios is a multi-arts venue, situated in a beautiful location on the banks of the Thames in Hammersmith, west London. For over 45 years, it has been the home of an extraordinary mix of theatre, film, comedy, art, dance, music and television. It reopened fully in 2020 after a total redevelopment.

Aria Entertainment and Lambert Jackson Productions present

• OLIVIER-NOMINATED PLAY ‘CRUISE’ RETURNS TO THE WEST END FOR A LIMITED RUN AT THE APOLLO THEATRE FROM 13 AUGUST – 4 SEPTEMBER. TICKETS ARE NOW ON-SALE AT CRUISETHEPLAY.CO.UK

• ‘CRUISE’ WAS ONE OF THE FIRST PRODUCTIONS TO PREMIERE IN THE WEST END WHEN THEATRES REOPENED IN MAY 2021 WINNING GREAT CRITICAL ACCLAIM AND AN OLIVIER NOMINATION FOR BEST NEW PLAY.

• ‘CRUISE’ IS WRITTEN AND PERFORMED BY JACK HOLDEN, DIRECTED BY BRONAGH LAGAN AND FEATURES AN ORIGINAL ELECTRONIC SOUNDTRACK PERFORMED LIVE BY JOHN PATRICK ELLIOTT.   

• SET IN 1980’S SOHO AND INSPIRED BY A TRUE STORY, ‘CRUISE’ IS A CELEBRATION OF QUEER CULTURE AND A POWERFUL TRIBUTE TO THE VETERANS OF THE AIDS CRISIS. 

Producers Aria Entertainment and Lambert Jackson are delighted to announce Olivier-nominated play CRUISE will return to the West End for a strictly limited run at the Apollo Theatre this summer from 13 August – 4 September.  CRUISE is an urgent, moving and inspirational play written and performed by Jack Holden (Ten Per Cent, Amazon Prime Video; War Horse, National Theatre), directed by Bronagh Lagan (The Rise and Fall of Little Voice, UK Tour; Little Women, Park Theatre), with original music composed and performed live by John Patrick Elliott (The Little Unsaid).

CRUISE was one of the first productions to premiere in the West End when theatres reopened in May 2021 and marked West End debuts for the producers and playwright Jack Holden.  The production won widespread acclaim from critics and audiences alike and was nominated for Best New Play at the 2022 Oliviers. 

Based on a true story Jack was told whilst volunteering for Switchboard, the LGBTQ+ Listening Service, CRUISE plays tribute to a generation decimated by HIV and AIDs. Bringing to life 1980’s Soho, this kaleidoscopic musical is a celebration of queer culture with an uplifting 80s electronic soundtrack performed live by John Patrick Elliott. 

Following CRUISE, Jack Holden went on to play the role of Kevin in Amazon Prime Video’s Ten Percent, a British remake of the French TV series Call My Agent. This autumn he will star alongside Sean Bean and Nicola Walker in Stefan Golazsewski’s Marriage for BBC One.  Jack is also collaborating again with composer John Patrick Elliott on a new musical play for Aria Entertainment The Isle which is currently in development. Since CRUISE, John has scored two feature films released this year Three Moons of Biyangdo and Wild Isles and is currently composing new solo work after being awarded the ‘Do It Differently Fund’ from Help Musicians UK. He is also producing a new album with his alt-folk/ electronic band The Little Unsaid, with whom he’ll perform at festivals this summer, including Glastonbury, before an extensive UK tour in October. 

‘Rhythm of Us’ an original track from CRUISE is available to listen to here. Written and recorded by John Patrick Elliott, ‘Rhythm of Us’ is a love note to synth-drenched 80s pop and features guest vocals from Jack Holden and Jamie Lambert.

Jack Holden and John Patrick Elliott said: “We’re ecstatic that CRUISE is coming to the Apollo Theatre for a limited run this Summer. Our first run reopened the West End with a bang. Audiences had been cooped up indoors for a long time, and we all needed a reason to come together, to laugh, to cry and to have a little dance – CRUISE was just that. This incarnation of CRUISE will be bigger, brighter, louder and prouder. We can’t wait to get back on stage, make one hell of a noise, and take our audiences back to 1980s Soho.”

Producer Katy Lipson of Aria Entertainment said: “To have the opportunity to bring CRUISE back to the West End this summer is an absolute privilege. What a journey we have all been on from a brilliant first run at Duchess Theatre to an Olivier nomination for Best New Play. More audiences will now get to share this powerful and gripping musical drama and be taken back to the 80’s to be immersed in such an important part of history. We can’t wait to arrive at Apollo Theatre and continue our journey.”

Producers Jamie Lambert and Eliza Jackson of Lambert Jackson said: “CRUISE holds an incredibly special place in our hearts. It’s electric, it’s exciting, and it’s coming to the Apollo Theatre, right in the heart of the historical setting for the play. What an honour to be involved in such an important queer piece of theatre – and to continue to celebrate the show after its well-deserved Olivier Award nomination.”

Nica Burns, Chief Executive Nimax Theatres and producer of Rising Stars Festival said: “CRUISE was the stand-out star of Nimax’s ground-breaking Rising Stars Festival, which spearheaded the reopening of our six theatres post pandemic. A gem of a play and an incredible writing debut from its star, actor Jack Holden, which went on to win a nomination for Best New Play at the 2022 Olivier Awards. We are absolutely delighted to welcome Jack and his producers back to the West End to give audiences another chance to see this intoxicating evening.”

~ February 29th, 1988. Soho, London. ~

CRUISE is the true story of what should have been Michael Spencer’s last night on Earth.  When Michael is diagnosed with HIV in 1984, he’s told he’ll have four years to live – at most. So, with the clock ticking, he and his partner, Dave, decide to sell their house, flog the car, spend everything they have and party like it’s the last days of Rome. When Dave dies two years later, Michael doubles down on his hedonistic ways, spending what little he has left and drowning himself in drink and drugs. 

On the last night of his four-year countdown – the 29th February, 1988 – Michael decides to go out with a bang. He puts on his favourite jacket, heads for Soho, and embarks on a long night of farewells. He says his goodbyes to friends, enemies and strangers; old haunts, dive bars, cafes, clubs and pubs; his brothers, sisters, allies and exes. He dances, sings, and says yes to everything and everyone. Then, with all his affairs taken care of, Michael promptly… survives.  Michael got lucky, and he goes on to live to a ripe old age. Michael has been given the gift of life; but what kind of life can he now live?

The full creative team includes Jack Holden (writer and performer), John Patrick Elliott (Music and Sound Design), Bronagh Lagan (Director), Nik Corrall (Design), STUFISH Entertainment Architects (Co-Design), Jai Morjaria (Lighting Designer) Sarah Golding (Movement) and Max Pappenheim (Additional Sound Design).

Initial development supported by Help Musicians Fusion Fund and Shoreditch Town Hall.

CASTING ANNOUNCED FOR RSC PRODUCTION OF ALL’S WELL THAT ENDS WELL

All’s Well That Ends Well
Tuesday 16 August – Saturday 8 October 2022
Royal Shakespeare Theatre, Stratford-upon-Avon

https://www.rsc.org.uk/alls-well-that-ends-well
Box Office: 01789 331111

The Royal Shakespeare Company (RSC) has today announced casting for its forthcoming production of All’s Well That Ends Well, which runs between 16 August – 8 October 2022 in the Royal Shakespeare Theatre in Stratford-upon-Avon. The production of Shakespeare’s enduring dark comedy – exploring themes of romantic fantasy, toxic masculinity and consent – will be directed by Blanche McIntyre, whose most recent RSC credits include Titus Andronicus (2017) and The Two Noble Kinsmen (2016).  It will play in repertoire with Richard III, directed by Gregory Doran, with a number of the cast appearing in both productions.

Rosie Sheehy, who last performed at the RSC in 2019 in the title role in King John, plays Helena. She will also appear as Anne in Richard III. Rosie’s other theatre credits include Oleanna (Bath Theatre Royal and The Arts Theatre West End), Anna X (The Vaults), The Wolves (Theatre Royal Stratford East), The Whale (Theatre Royal Bath), Uncle Vanya (Theatre Clwyd/Sheffield Theatres), Escape the Scaffold (Theatre 503), Strife (Chichester Festival Theatre), Bird (Royal Exchange Manchester), The Hairy Ape (The Old Vic) and Chicken (Paines Plough).

Claire Benedict plays The Countess.  Claire’sprevious RSC credits include The Canterbury Tales, Tamburlaine the Great, Antony and Cleopatra, The Odyssey and Eastward Ho. Claire will also take on the role of The Duchess of York in Richard III.

Fresh from making his RSC debut as Somerset in Henry VI: Rebellion and Wars of the Roses, Benjamin Westerby plays Bertram. Benjamin’s other theatre credits include: Tom, Dick and Harry (New Vic), and, whilst training at RADA: The Seagull, As You Like It, The Winter’s Tale and Twelfth Night.

Simon Coates and Jamie Wilkes return to the RSC to play Lafeu and Parolles respectively.  Simon’s previous productions for the RSC include Coriolanus, The Merry Wives Of Windsor, Loveplay, Luminosity, The Taming Of The Shrew and The Comedy Of Errors. Jamie’s previous RSC credits include Henry VI Part I, The Two Noble Kinsmen, The Rover, Oppenheimer, The Shoemaker’s Holiday, Wendy & Peter Pan.  In Richard III, Simon plays Stanley, and Jamie plays Buckingham.

Also returning is Micah Balfour (Older Dumain), who re-joins the company following his role as Don John in Roy Alexander Weise’s afro-futuristic production of Much Ado About Nothing in 2022. Micah plays Hastings in Richard III.

All’s Well That Ends Well is designed by Robert Innes Hopkins, who previously collaborated with Blanche McIntyre on the RSC’s Titus Andronicus (2017).

Blanche McIntyre said:

“I am so excited to have the chance to direct Shakespeare’s most modern comedy at the RSC. All’s Well that Ends Well, as full of grief and nostalgia as romance and adventure, with its story of sexual politics, class prejudice and generation gaps, would always have felt contemporary. But the fantasy relationships and fake identities in the play make it a perfect match for our anxious, idealistic, lonely, social-media-addicted age.

“I’m thrilled to be working again with designer Robert Innes Hopkins for our second RSC collaboration. We can promise a fleet footed, inventive, contemporary, colourful production, with one foot in real life and one in the online world. I look forward very much to bringing it to audiences, and I hope they will have a thought provoking as well as entertaining evening.”

Blanche McIntyre’s directing credits span Shakespeare’s Globe, the National Theatre, Chichester Festival Theatre, Donmar Warehouse, Almeida Theatre, Hampstead Theatre, Headlong Theatre, Nuffield Theatre, English Touring Theatre, Manchester Royal Exchange, among many others. Recent directing credits include Measure for Measure and Bartholomew Fair (Sam Wanamaker Playhouse), Hymn (Almeida/Sky Arts), Botticelli In The Fire (Hampstead Theatre) and Tartuffe (National Theatre).

Blanche’s production of All’s Well That Ends Well, along with Gregory Doran’s Richard III fittinglymark the final productions, in the Royal Shakespeare Theatre, of the Company’s ten-year pledge to produce all of Shakespeare’s collected plays for the stage.

Screen adaptations of both Richard III and All’s Well That Ends Well will be captured, completing a unique collection of Shakespeare on stage, produced by one Company across one decade.

The full cast is: Bruce Alexander (King of France), Laila Alj (First Soldier), Micah Balfour (Older Dumain), Oscar Batterham (Lord/Second Soldier), Claire Benedict (The Countess), Sophie Cartman (Rinaldo/Duke of Florence), Callum Coates (Gentleman), Simon Coates (Lafeu), Matthew Duckett (Lord/First Gentleman), Will Edgerton (Lavache), Jessica Layde (Mariana), Funlola Olufunwa (Widow), Olivia Onyehara (Diana), Ewan Orton (Lord/Escalus), Thom Petty (Second Gentleman), Joeravar Sangha (Lord), Eloise Secker (Younger Dumain), Rosie Sheehy (Helena), Jamie Wilkes (Parolles) and Benjamin Westerby (Bertram).

Joining Blanche and Robert on the creative team are: Richard Howell (Lighting), D.J. Walde (Music), Gregory Clarke (Sound), Douglas O’Connell (Video), Asha Jennings-Grant (Movement and Intimacy)and Kate Waters (Fights).

SOPHIE WARD & JOE McFADDEN

JOIN THE UK TOUR OF

AGATHA CHRISTIE’S THE MIRROR CRACK’D

UK TOUR OPENS 8 SEPTEMBER 2022

Sophie Ward and Joe McFadden join Susie Blake in the cast of the brand new production of Rachel Wagstaff’s acclaimed adaptation of Agatha Christie’s THE MIRROR CRACK’D. The production, directed by Philip Franks, will begin its UK Tour at Devonshire Park, Eastbourne on 8 September 2022.

THE MIRROR CRACK’D will star Susie Blake as Miss Marple, Sophie Ward as Marina Gregg, Joe McFadden as Jason Rudd, Veronica Roberts as Dolly Bantry, Mara Allen as Cherry Baker, Sarah Lawrie as Ella Zielinsky, Jules Melvin as Heather Leigh and David Partridge as Cyril Leigh.

In 1960s England, a wind of change is blowing through the land. It has even reached the sleepy village of St Mary Mead. There’s a new housing estate, which alarms the villagers as much as it intrigues them and, even more unsettling, a rich American film star has bought the manor house. Jane Marple, confined to a chair after an accident, is wondering if life has passed her by. Then there is a shocking murder, and Miss Marple must unravel a web of lies, danger and tragedy. This adaptation of Agatha Christie’s famous novel brings real emotional depth and psychological insight to a thrilling story of secrets, loss and revenge.

The Mirror Crack’d From Side to Side was published in the UK in 1962 and adapted as a feature film, The Mirror Crack’d, in 1980, starring Angela Lansbury as Miss Marple, Elizabeth Taylor, Kim Novak, Rock Hudson and Tony Curtis.  On television, adaptations of the novel have starred Joan Hickson as Miss Marple in 1992 and Julia McKenzie as Miss Marple in 2011.

Susie Blake is best known for playing the Continuity Announcer in Victoria Wood: As Seen on TV, as well as her regular roles of Bev Unwin in ITV’s Coronation Street and Hillary Nicholson in BBC’s Mrs Brown’s Boys. She has recently appeared in series one and two of Kate & Koji (ITV), Not Going Out (BBC One) and The Real Marigold Hotel (BBC One). Her films include Fierce Creatures and Nativity 3: Dude, Where’s My Donkey?!. Her theatre credits include Fisherman’s Friends: The Musical (Hall for Cornwall), Some Mothers Do ‘Ave ‘Em (UK Tour), My Fair Lady (Grange Festival), Grumpy Old Women Live 2 & 3, When We Are Married (West End), Pygmalion (Chichester Festival Theatre), Madame Morrible in Wicked (West End) and Belinda Blair in Noises Off (National Theatre).

Sophie Ward has most recently been seen in the BBC‘s A Very British Scandal opposite Claire Foy and Paul Bettany, BBC/HBO Max’s Troubled Blood – an adaptation of J.K. Rowling’s hugely popular novel of the same name, and This Sceptred Isle, playing the role of Rachel Johnson, opposite Kenneth Branagh’s Boris Johnson.  For the past four years, Sophie has hosted the European Diversity Awards and works closely alongside Stonewall.

Joe McFadden’s television credits include Raffaello Di Lucca in Holby City from 2014 to 2020, Alistair in Casualty in 2009, PC Joe Mason in Heartbeat from 2007 to 2009, Jack Marshland in Cranford, Dallas in Sex, Chips & Rock’n’roll, Prentice McHoan in The Crow Road and Gary McDonald in The High Road.  Theatre includes Priscilla-Queen Of The Desert, Torch Song Trilogy (Menier Chocolate Factory), She Loves Me (Chichester Festival Theatre), Rainbow Kiss (Royal Court Theatre), How To Succeed In Business Without Really Trying (Chichester Festival Theatre), Aladdin (Old Vic Theatre) and Rent (Shaftesbury Theatre, London).  Joe was the winner of Strictly Come Dancing in 2017.

THE MIRROR CRACK’D will be directed by Philip Franks (Barnes’ People, The Haunting of Alice Bowles, The Habit of Art, The Croft and A Cold Supper Behind Harrods) and designed by Adrian Linford, with lighting design by Emma Chapman, sound design by Max Pappenheim and casting by Ellie Collyer-Bristow CDG.

The UK Tour will be produced by Alastair Whatley and Tom Hackney for The Original Theatre Company. The Original Theatre Company recently won a Critics’ Circle Award for their outstanding contribution to British Theatre during lockdown, through which they produced acclaimed online productions of Sebastian Faulks’s Birdsong Online, Louise Coulthard’s Watching Rosie, Torben Betts’s Apollo 13: The Dark Side of The Moon, Philip Franks’s The Haunting of Alice Bowles and Peter Barnes’s Barnes’ People.  More recently, they have produced stage and hybrid productions ranging from world premieres of Frazer Flintham’s Into The Night to Ben Brown’s The End of The Night at Park Theatre, as well as tours of The Hound of The Baskervilles, Being Mr Wickham, The System, A Splinter of Ice, The Habit of Art, Invincible and Birdsong. Last week they announced their new playwriting festival ‘Originals’ in partnership with Riverside Studios, which opens at the end of June in London and online.

Website: www.originaltheatre.com

Twitter, Facebook, Instagram: @MissMarpleTour / @OriginalTheatre

TOUR SCHEDULE

8 – 17 September                   Eastbourne Devonshire Park                                       01323 412000

                                               www.eastbournetheatres.co.uk                                    on sale

20 – 24 September                 Darlington Hippodrome                                                01325 405405

                                               www.darlingtonhippodrome.co.uk                                on sale

27 September – 1 October     Cheltenham Everyman Theatre                                   01242 572573

                                                everymantheatre.org.uk                                               on sale                                              

4 – 8 October                         York Theatre Royal                                                      01904 623568

                                               www.yorktheatreroyal.co.uk                                         on sale           

10 – 15 October                     Oxford Playhouse                                                         01865 305305

                                               Oxfordplayhouse.com                                                  on sale

17 – 22 October                      Mold Theatr Clwyd                                                       01352 344101

                                                www.theatrclwyd.com                                                  on sale 14 June

31 October – 5 November       Northampton Royal & Derngate                                   01604 624811

                                                royalandderngate.co.uk                                                on sale                                              

8 – 12 November                     Norwich Theatre Royal                                                 01603 630000

                                                norwichtheatre.org                                                       on sale

22 – 26 November                   Bromley Churchill Theatre                                            0343 310 0020

                                                churchilltheatre.co.uk                                                   on sale soon

28 November – 3 December    Southend Palace Theatre                                            0343 310 0030

                                                palacetheatresouthend.co.uk                                       on sale

Further dates to be announced

GARY BARLOW BRINGS A DIFFERENT STAGE BACK TO WHERE HIS STORY BEGAN

FRODSHAM COMMUNITY CENTRE TO HOST SPECIAL PERFORMANCES OVER 2 – 4 JUNE

TICKETS ON SALE TO FRODSHAM RESIDENTS* FROM 9.30AM THURSDAY 26 MAY HERE

GENERAL TICKET ON SALE FROM 9.30AM FRIDAY 27 MAY HERE

www.adifferentstage.show

★★★★★ A brave and beautiful retelling of his whole life story…a seriously emotional experience – Manchester Evening News

★★★★ Gary Barlow…proves himself a master of solo performance– The Scotsman

★★★★★ Barlow holds his audience rapt throughout…[he’s] a candidly open and honest storyteller – Edinburgh Evening News

Frodsham local, lauded singer, songwriter, composer and producer Gary Barlow, is heading back to his hometown for four very special performances of his critically acclaimed theatrical one man stage show. He’ll perform A Different Stage at the Frodsham Community Centre over 2, 3 and 4 June. Those with a credit card registered to a WA6 postcode* will be able to purchase tickets on Thursday 26 May, with general sale tickets available from Friday 27 May.

In A Different Stage, Gary takes audiences on a journey through his life story, which began in Frodsham back in 1971. A Different Stagepremiered at The Brindley, the award-winning theatre in Runcorn, Cheshire, in February to a rapturous reception and Gary has since played to sell-out audiences in Salford, Liverpool and Edinburgh. He’ll also take the show to Dublin, Newcastle, York and more, plus he’ll make his West End debut at London’s Duke of York’s Theatre in August.

A Different Stage performance dates announced today:

Frodsham Community Centre – Thursday 2 June

Frodsham Community Centre – Friday 3 June

Frodsham Community Centre – Saturday 4 June (matinee)

Frodsham Community Centre – Saturday 4 June (evening)

Gary said: “It’s been thrilling to perform ‘A Different Stage’ in so many wonderful places over the past few months, but to be able to bring this show to Frodsham feels incredibly special to me. I can’t wait!”

Created by Gary and his long-time friend and collaborator Tim Firth, A Different Stage sees Gary narrate the journey of his life alongside the music from his incredible discography. In a project unlike anything he’s ever done before, Gary will take the audience behind the curtain, with nothing off limits in this special performance.

Gary Barlow is one of Britain’s most successful songwriters and record producers. As part of the group Take That, he has won eight BRIT Awards and sold over 45 million records. Aside from his achievements with Take That, he has also co-written and produced music for other renowned artists including Dame Shirley Bassey, Sir Elton John and Robbie Williams.

In more recent years, Gary has also turned his attention to the world of theatre, composing the score for the hugely successful production of Finding Neverland; working alongside Tim Firth on  Calendar Girls The Musical; and collaborating with Tim and his Take That bandmates on The Band, a record-breaking stage musical currently being adapted into a feature film.

Theatr Clwyd, Yr Wyddgrug – until 4th June 2022

Reviewed by Julie Noller

5*****

Exciting times at Theatr Clwyd as the 1970s building undergoes a major refurbishment. Upon arrival you find yourself walking towards what feels like a wedding marquee, fear not it is the temporary hospitality area but on a sunny evening the windows open up to give amazing views of the Clwydian range highlighting the magnificance of the local area of which the theatre takes it’s pride of place within the local community. Huge congratulations to Theatr Clwyd for using a QR code generated programme that is accessible to everyone, reducing costs and aiding the environment.

We found ourselves within the outside dome, Theatr Mix. A rather funky little theatre which is prefect for any show where intimacy, small stage settings bring the audience so close to the actors you feel you can almost reach out and touch them. Celebrated Virgins I wasn’t sure what to expect, the only knowledge I had was from my friend Google, perhaps upon reflection this is wise because the story itself so cleverly written by Katie Elin-Salt and Directed by Eleri B.Jones. From the very first minutes it’s obvious you are going to be sucked towards the very soul of this story. Reminded that these very forward thinking ladies were no longer with us in body but very much so in spirit and that they certainly had aplenty. 200 years ago it was unheard of for a young lady to think for herself never mind break every unwritten rule of gentile society and seek to live their lives in romantic love with each other. Yet here we have Heather Agyepong as Sarah Ponsonby facing us, challenging us from her very first words. The very fact that we think we may know, words perhaps in our era we can say with ease but then in 1700s North Wales within the small rural area of Llangollen where the River Dee still flows, you just conformed to society within the constraints of your birthright.

I enjoyed being challenged, loved the humour. For above all else that connects us to history it’s the stories and the laughter. Sarah a shy, socially awkward youngster a description that wouldn’t be out of place today to many you meet. Sarah arrives in Ireland as a ward of Sir William (Sean Carlsen a man of many accents tonight) and Lady Betty (Emma Pallant) a couple who yearn on one hand an heir and the other a much loved child. Sarah is a replacement child close at first to Lady Betty but that bond slowly ebbs as Sir William takes an interest and encourages Sarah’s joy of gardening. That interest turns rather dark and disturbing, something I found intriguing is that all these changes are inferred, you don’t witness a great deal and it feels like our responsibility to establish the pieces of the story in our minds eye. Lady Betty becomes somewhat jealous or is it protective of Sarah and encourages her to attend school where Victoria John portraying Lady Eleanor Butler is an aide. The story moves on at pace throughout, we don’t need the nitty gritty detail we need the roller-coaster that life often is. It wasn’t a quick event that happened, they met, they fell in love and happily ever after. We must remember that these groundbreaking ladies were so far ahead of their time, but they faced fears, struggled with emotions. We must be thankful for those willing to not only break the rules they actually took the book and ripped it into tiny pieces.

I’m not here to retell the story for its plainly obvious these 2 ladies of Llangollen, hermetesses as they were labelled locally became a sensation of gossip, their story is built not by their own writings but the words of others, newspapers, we know that words can change from person to person.

The Second Act saw Emma Pallant take her part in portraying another strong woman as the ladys maid/servant Mary, reminding us with a great deal of humour and laughter that romance isn’t just roses grown in a garden. She was woken at 2am for the dash to the ferry, she carried the luggage, she continues to scrub the skid marks for life is real. On a whole the performances are polished and we the audience draw so much, it’s a story of life long love deep and forbidden. The story of strong women from those who yearn for the love of a child, a maid who feels the love of her mistresses not just as an employee but as family. To the modern day museum restoration and upkeep of Plas Newyydd at Llangollen. It is a reminder that girl power was never a Spice Girl invention but in fact has always been within every female regardless of birth right.

EMPIRE THEATRE, LIVERPOOL – UNTIL SATURDAY 28TH MAY 2022

REVIEWED BY MIA BOWEN

5*****

Mischief’s Oliver Award winning, West End and Broadway hit comedy continues to entertain audiences around the world and is currently touring the UK for the fifth time. Last night the cast certainly provided the audience with plenty of belly laughs, as it premiered at the Empire Theatre.

Before the performance even started, we had our suspicions that not all was going to plan. As we were making our way from the bar, down the stairs to take our seat, a very well dressed man came running up the stairs towards us. He stopped in front of us, greeted us politely and continued running up the stairs past us. He looked a little bit distressed. When we took our seats, we noticed the production team walking around, asking the audience for their help in looking for their lost dog and a few minutes later a helpless stage manager attempted to secure a collapsing mantel piece on the set. This was hilarious and drew the audience’s attention, giving us a small taster of what we could be expecting throughout the evening’s performance.

This production is a farcical play within a play, and reminded me of ‘Faulty Towers’, everything that could go wrong, went wrong in the most delightful ways.

The talented cast play members of the Cornley Polytechninic Drama Society who is putting on (or attempting to put on) a 1920’s murder mystery, titled Murder at Haversham Manor.

For me the standouts of the evening included Edi De Melo, as Max the student playing Cecil and Harry Boyd as Chris, the newly elected Head of the drama society playing the part of Inspector Carter and the Director. Their charisma and charm on stage, drew in the audience, commanded their full attention and send them into fits of laughter.

The set (Nigel Hook) helped contribute to the majority of the catastrophes, from the misplacement of props, to the gradual destruction of the set by the end of the play.

I left the theatre with a huge grin on my face, listening to people around me cackling out loud and recalling their favourite part of the play. The Play That Goes Wrong really is a comical sensation!

Grand Opera House York – Saturday 21st May 2022.

Reviewed by Michelle Richardson

4****

The Gruffalo is a well know children’s book, first published in 1999, by Julia Donaldson and illustrated by Axel Scheffler. It was first adapted to stage by Tall Stories over 20 years ago and is still going strong to this day.

The story follows the escapades of Mouse, venturing into the deep dark wood on the hunt for hazelnuts. With just a map in hand, Mouse encounters numerous Predators within the wood, and being at the bottom of the food chain, has every right to be scared. But this mouse is no ordinary mouse!

Mouse has a vivid imagination and uses clever tricks to escape danger. Whilst following the map Mouse encounters the sly Fox, the eccentric Owl and finally the flamboyant Snake, the latter complete with maracas. Each of these animals has only one intention, after invitations to their individual homes, and that is to have Mouse on their menus. The cunning Mouse refuses each offer by concocting the Gruffalo, a gruesome creature with frightening features. After getting rid of all the Predators, Mouse is shocked to encounter a real Gruffalo and again must avoid being dinner.

The stage really does look like a deep dark wood, the kind you get in a children’s book anyway. Imposing, almost cartoonish trees setting the scene. The costumes are effective, with the upturn of a collar and whip out of a tail turn a person into a fox, a headband become ears, a bit of makeup and again a tail appearing from nowhere, to create a mouse, it is quite simple but very clever.

We don’t see the Gruffalo costume until later in the show, and he almost looked like a cuddly teddy, not scary at all. The children loved seeing him up on the stage though, I know my lot were excited to finally see him.

There are only three cast members, Aimee Louise Bevan as Mouse, Alastair Chisholm as all the Predators, Fox, Owl and Snake, and Aaron Dart as the narrator and The Gruffalo. They are all full of energy, filling the stage well and really brought all the characters to life. It was all very engaging, and had us all, both children and adults, joining in with the singing, roaring as loud as we could, pretending to be a Gruffalo. My three loved the interaction.

This show really does bring the book to life. Suitable for 3-7 year olds, it is a perfect introduction to the theatre. It was all such fun.

Richmond Theatre – until Saturday 28th May 2022

Reviewed by Liberty Noke

4****

The Rocky Horror Show has been loved by audiences all over the world for over 40 years and it is easy to see why. This naughty, sexy, scandalous show is a party from beginning to end.

It opens with the usherette (Suzie McAdam) on stage singing Science Fiction – Double Feature. Her costume was fantastic with her ice cream tray and blonde wig but this was only the beginning, she opened the curtain to reveal Brad (Ore Oduba) and Janet (Haley Flaherty) introduced by the narrator(Philip Franks). As the narrator speaks the audience use the well known talk-back lines to interact with him. The narrator was prepared for this and interacted perfectly even making topical references like to the Johnny Depp and Amber
Heard trial or Priti Patel.

Brad and Janet are clean-cut, ordinary people travelling home from a wedding. We watch them become engaged during their performance of Damn it, Janet which was fantastic. Their car then breaks down and they seek help at a nearby castle. They are greeted by Riff Raff (Kristian Lavercombe) who welcomes them inside to meet the other servants in the castle who all perform the Time Warp this song had the whole audience on their feet singing and dancing along, it was a really special moment to see the performers and the audience all having fun together.

We then meet the owner of the castle Frank N Further (Stephen Webb). Frank makes a spectacular entrance his presence is incredible and his performance of Sweet Transvestite was sensational. Frank really was the star of the show he had such command over the audience and his performance was outstanding.

The costumes in Rocky Horror are iconic, so much so that many of the audience attended wearing outfits inspired by them. This production was no different

I think my favourite thing about this show was the audience. The fans who had clearly seen it several times before and knew all the talk back lines to make the show funnier. The ones who brought props like a light to wave during the song “Over at the Frankenstein Place” and the ones who came in costumes so detailed you could hardly tell them from the actors on the stage. Seeing these people enjoy the show enhanced my enjoyment of it and was the highlight of my evening.

Brighton Fishing Museum Loft, 200 King’s Road Arches – until 4th June 2022

Reviewed by Sue Bradley

5*****

Betsy is produced by Something Underground http://www.somethingunderground.co.uk/

It was written and premiered in 2013 by multi-award winning Writer/Director Jonathan Brown.

In contrast to Something Underground’s other currently touring shows, which explore the culture of the sixties and seventies, this one-act, one-woman monologue (one third of The Well Trilogy of shows) brings us a truly believable account of what a woman of humble origins might have had to endure in the early 1820’s. The workhouse, part of Betsy’s past, is mentioned several times, and as a local audience, we understand that she’s referring to the Brighton workhouse, now Brighton General Hospital. Many local place names and familiar historical figures are mentioned (even thought the Betsy character herself is fictional), which brings her story to life even more.

The term “Emotional Rollercoaster” is often over-used but in this case it can only be wholly appropriate, as Betsy tugs on our heartstrings, whilst at the same time displaying the tough, streetwise character that she needed to be.

Betsy is played by Isabella McCarthy Somerville in a confident and assured performance, switching characters and accents with apparent ease. Daring the audience to judge her right from the start, she walked a fine line, addressing us as if daring us to respond, but never holding it for so long that we became uncomfortable.

It was a very demanding physical and emotional performance, but McCarthy Somerville never let up and held us riveted throughout. During this lengthy one act piece, there was no scraping of chairs, surreptitious phone checking or other signs of audience unrest. The only other sounds came from the clever soundtrack which provided just the right amount of ambience and occasional well-judged music.

The loft of the Brighton Fishing Museum provided an excellent venue and resonated with themes of the ocean that appeared throughout the play. Coming out into the light, close to the sea and the pier, the very areas that Betsy mentioned in her story, seemed a fitting coda to the piece.

This is one of the best and most convincing one-person shows I have seen in the Brighton Fringe. The final scene brought tears to the audience, and thoughts of more personal tragedies, as she evoked the heartbreaking scene that Betsy was faced with at the end.