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Theatre Royal Nottingham – until Saturday 23 April 2022

Reviewed by Louise Ford

4****

Few people are completely normal, deep down in their private lives. 

Private Lives was written by Noel Coward in 1930. He wrote the play with himself and Gertrude Lawrence as the two main characters. They were in their early thirties and the toast of London Society. At the time of the first performance the play was judged to be controversial and too risqué and Coward had to plead his case to the Lord Chamberlain. The cause for alarm in the 1930s was divorce, co-habitation  and sex, I’m  not sure those issues would cause anyone to bat an eyelid today, however the issue of domestic violence may be of a concern. 

The main characters are Elyot  and Amanda, a divorced couple who meet again whilst on honeymoon with their new spouses in not only the same hotel and but in adjacent rooms. In the current production the roles are played by the slightly more mature Nigel Havers and Patricia Hodge. Whilst a “change is as good as a rest” should be welcomed when looking at the casting of a play or a role to ensure that the production stays fresh and new; the age of the main characters did not sit very comfortably  for me. I think that the issue is that you would not expect the second time around relationship to be anymore aware if they were still relatively young. You would perhaps expect people to get more sensible with age, or maybe not! Having said that the lines delivered after the tryst on the sofa are given more poignancy ,”It certainly is horrid when one begins to crumble”. The respective entrances on to the stage by Havers and Hodge  were greeted with applause and appreciation from the audience.

The opening scene is a softly lit (lighting by Mark Jonathan) confectionery  of a hotel (set by Simon Higlett) complete with a sound track of breaking waves and seagulls. It’s a world of cocktails, dressing for diner and speculating on just whose yacht it is in the harbour. Where the only mention of  money is the casino and the only person who does any work is the maid. The action and dialogue are nicely paced and build to the climax which changes the location completely. The second act is a beautiful contrast to the innocent wedding cake hotel. It is set in Amanda’s Parisienne flat,all deep reds,dark curtains and passion! This is where the pace picks up, with drinking, singing, dancing and fighting.

The new spouses Sibyl (Natalie Walter) and Victor (Dugald Bruce-Lokhart), provide a strong contrast to the originals. Both are neurotic and insecure in not only themselves but also in this new adventure….marriage. Sibyl is a little shrill and has hopes and expectations which are overshadowed by the glamorous first wife. Whereas Victor is a decent dependable  country chap at home in his tweeds and at sea in his evening dress. How could they ever compete with their witty,urbane predecessors ?

As you would expect from Coward it is a delightful comedy of icy manners and politeness with some lovely one-liners and rallies of insults and put downs. On the whole the dialogue has stood the test of time. The repartee is delivered beautifully by Havers and Hodge. With the odd knowing look to the audience as the more double entendre lines are delivered.  Havers looks particularly dashing in his dressing gown and monogrammed slippers. The final scene in the flat when the roles are reversed and the gloves are off is a delightful tennis match of jibes and blows, with Elyot and Amanda eating their petit-dejeuner and watching the private lives of the English abroad.

Festival Theatre, Malvern – until Saturday 23rd April 2022

Reviewed by Courie Amado Juneau

4****

The Homecoming was written by Harold Pinter in 1964. It came at the height of his powers and critical acclaim as a playwright and is widely regarded as his finest work. The story involves Teddy bringing his wife to the family home to meet his relatives for the first time, indeed it is the first time he has been back for many years.

Way before the curtain rises there is a gnawing, ominous noise present. So it seems only fitting that I should start by commending Sound Designer Max Pappenheim for his exceptional work. He creates a sense of suspense and menace with this soundscape, which continues in the interval too, effectively extending the stage into the auditorium and us into the psychological action which never lets up. It reminded me of the great David Lynch; being very á la Twin Peaks.

The curtain rises to the other production masterstroke – the use of the dark stage, blue spot thrown on stationary characters and discordant chord to evoke menace. A thrilling effect that was engagingly filmic.

So to the family, who make the Addams look functional! A deeply unpleasant bunch. Odd in the extreme, full of anger and violence. Keith Allen gives an accomplished performance as the odious patriarch Max. There is very little of the comedian here, producing an impressive intensity as he conveys a real sense of being the source of the family’s hateful traits and internal squalor.

Lenny (Mathew Horne) is wildly dysfunctional, like a worrying Kray brother! I really enjoyed Horne’s delivery of the various meandering lines of dialogue which gave us some erudite vocal dexterity and verbiage. His gentleman thug had more than a touch of Peaky Blinders about it and was a joy to behold.

The rest of the cast’s acting was equally enjoyable with a wonderfully otherworldly performance from elder brother Teddy (Sam Alexander) and Ruth (Shanaya Rafaat) and younger brother Joey (played by Geoffrey Lumb) who seems like he’s taken too many punches for anyone’s good, rounding out the immediate family. Uncle Sam (sympathetically played by Ian Bartholomew) added a much needed touch of normality. The pauses in dialogue were very stylised and the reactions of the characters to the plot were strangely muted. This all adds to the oddity – like when horror film producers tilt the camera at weird angles to unsettle the viewer. If that was the intention (I’m sure it was) it worked perfectly. This felt like a Christmas episode of Eastenders. If you like that you’ll enjoy this. For me it was missing a final act. No criticism of the actors, just a comment on my feelings regarding the play itself. Perhaps that was the author’s aim (the programme certainly mentions Pinter’s preference for things being left unexplained).

At the conclusion, I found myself wondering what I had just seen but enjoying the evening out nonetheless. Well done to cast and crew on a fine production of a genuinely quirky piece of theatre.

FULL CAST ANNOUNCED FOR KING’S HEAD THEATRE AND MAKING PRODUCTION’S CONTEMPORARY QUEER REINVENTION OF PUCCINI’S CLASSIC OPERA

LA BOHÈME

DIRECTED BY MARK RAVENHILL

AT THE KING’S HEAD THEATRE
26 APRIL – 28 MAY 2022

The King’s Head Theatre and Making Productions have today announced the full casting for their new contemporary queer reinvention of Puccini’s classic opera LA BOHÈME.

Mark Ravenhill, Co-Artistic Director of The King’s Head Theatre, will direct the new production, opening at the world-renowned Islington pub theatre’s stage from 26 April and playing until 28 May, with a press night on Tuesday 3 May. 

With Puccini’s score and a new English libretto originally conceived by David Eaton and Adam Spreadbury-Maher and reworked by Philip Lee and David Eaton, with Musical Direction from David Eaton, thisclassic tale of love and loss amongst a community of struggling artists returns to the King’s Head Theatre in a new version which relocates the story to contemporary London.

The full cast for LA BOHÈME are: Matthew Kellett as Marcus, Philip Lee as Mimi, Grace Nyandoro as Marissa and Daniel Koek as Robin.

Penniless writer Robin struggles to monetise his online writing but a Grindr hookup with a Liberty perfume salesman- known to his friends as Mimi -leads to unexpected blossoming of romantic passion.  Meanwhile Robin’s flatmate, Marcus pursues an on/off relationship with sometime model Marissa who is torn between the idealism of loving an artist and the material possibilities offered by a hedge fund manager.  As a year passes from one Christmas to the next, the four friends struggle to reconcile love with artistic aspiration and the need to pay the bills.

Puccini’s story has been constantly reinvented since its premiere in 1896 most notably with the Broadway musical Rent.  A previous production for Opera Up Close enjoyed a successful run at the King’s Head Theatre, and received an Olivier award. Subsequently in 2018 another incarnation of La Boheme from the King’s Head Theatre West End season was nominated for Best New Opera at the Oliviers. 

Matthew Kellett (Marcus)recently played the title role of Beowulf in the Off West End award-winning Beowulf: An Epic Panto at The King’s Head Theatre. Other roles include Dr Dulcamara in The King’s Head Theatre and Opera’r Ddraig’s The Elixir of Love and Charles Court Opera’s Express G&S (Pleasance Theatre, London and UK Tour).

Phillip Lee (Mimi) received an Best Opera Performance nomination from the Off West End Awards for his performances in Tosca and La Bohème at Trafalgar Studios. He also played Rodolfo in Opera Up Close’s Olivier award-winning La Boheme at the Soho Theatre, the Charing Cross theatre and on tour.

Grace Nyandoro (Marissa) recently performed in the one-woman production Liminal at The King’s Head Theatre, devised by Le Gateau Chocolat. Her operatic roles include Aksinya ‘Lady Macbeth of Mtsensk’ for Birmingham Opera Company, which won The Royal Philharmonic Society Award.

Daniel Koek (Robin) is renowned as one of the youngest men to star in the leading role of Jean Valjean in the West End production of Les Misérables. He also played the role Lt Joseph Cable in the West End, Sydney Opera House and Australian tour of Bartlett Sher’s Tony Award-winning and Olivier Award-nominated revival of South Pacific.

Tickets from £10 are on sale now here

Mark Ravenhill explains: “Our version of La Bohème is the story of a group of friends who started partying in the 1990s.  As they reach middle age, they are faced with the possibility that now may be the time to sell out and settle down.  But romantic passion, sexual desire and the hedonistic pleasures of partying remain as strong as ever.  It’s exciting to honour the overwhelming romantic beauty of Puccini’s score with his eye for telling social detail in this new version”.

Musical Director David Eaton continues, “It is really exciting to be returning to the King’s Head to work on this new production of La Bohème with Mark Ravenhill.  I’m always looking for ways to bring opera to new audiences and to reframe the outdated tropes and narratives that can make Opera feel elitist and alienating.  The King’s Head is the perfect space to come and experience something new – up close, personal and modern, far from the old-fashioned conventions of the Opera House.  There are some great singers on board and an inspiring Director – I can’t wait to get started!”

The King’s Head Theatre was established in 1970. Passionate about great theatre, it is known for its challenging work and support of early career artists. The King’s Head is committed to fighting prejudice through the work it stages, and the artists and staff it works with. The team believes in fair pay for all on the fringe and create accessible routes for early career artists to stage their work – work they are passionate about. In 2022, subject to a fundraising campaign, the King’s Head Theatre will move into a custom-built space in the heart of Islington Square, directly behind its current home securing the future of the venue for generations to come.

Darren Murphy is an Olivier Award Nominated producer and writer who in 2014 founded his production company Making Productions. He has gone on to produce bold new writing and existing work in new and exciting ways to engage and entertain audiences. Combining newly discovered talent with experienced collaborators, partner organisations and other producers, the aim is to extend the scope of creativity in the performing arts. Darren is passionate about exploring relevant and current work for education and community organisations for the betterment of all and is unique in this practice by championing Women, BAME and LGBT+ creatives. @Make_Prods 

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LEE MEAD

TO STAR AS ‘BILLY FLYNN’

IN THE UK AND IRELAND TOUR OF

THE INTERNATIONAL SMASH HIT MUSICAL

ALONGSIDE GEMMA COLLINS AS ‘MAMA MORTON’,

FAYE BROOKES AS ‘ROXIE HART’

AND

DJALENGA SCOTT AS ‘VELMA KELLY’

AT THE SUNDERLAND EMPIRE

FROM TUESDAY 31 MAY 2022

David Ian in association with Barry and Fran Weissler are pleased to announce much-loved star of stage and screen Lee Mead will play the role of ‘Billy Flynn’ in the acclaimed UK and Ireland tour of the international smash hit musical CHICAGO. Lee joins the previously announced Gemma Collins as ‘Mama Morton’, Faye Brookes as ‘Roxie Hart’, Djalenga Scott as ‘Velma Kelly’, Jamie Baughan as ‘Amos Hart’ and B.E. Wong as ‘Mary Sunshine’, opening at the Sunderland Empire from Tuesday 31 May 2022. Full tour schedule below. www.chicagothemusical.com

The cast is completed by Ishmail Aaron, Michelle Andrews, Gabby Antrobus, Delycia Belgrave, Joel Benjamin, Tanisha-Mae Brown, Daniel Clift, Callum Fitzgerald, Emily Goodenough, Billie Hardy, Aaron Jenkins, Liam Marcellino, Theo Reece, Hollie Jane Stephens and Harrison Wilde. 

Following her previous run, international recording artist Sinitta will reprise the role of ‘Mama Morton’ at the Grand Opera House, Belfast (6 – 11 June), Theatre Royal, Plymouth (14 – 18 June) and Venue Cymru, Llandudno (25 – 30 July) due to popular demand.

Lee Mead (Billy Flynn) won the nations hearts when they voted him their Joseph in BBC1’s Any Dream Will Do. Since then, Lee has gone on to star in the West End in Joseph and the Amazing Technicolor Dreamcoat at the Adelphi Theatre, Legally Blonde at the Savoy Theatre and Wicked at the Victoria Apollo, as well as touring the UK as Caractacus Potts in Chitty Chitty Bang Bang. Lee has also appeared on screen establishing himself as a TV favourite on BBC1’s Casualty and Holby City in the role of Lofty.

Gemma Collins (Mama Morton) is best known as a media personality and businesswoman, having first featured in the reality series The Only Way Is Essex. She was awarded the 2021 winner of the Best Female Personality at the National Reality Television Awards. Since ‘Essex’ Gemma has appeared in numerous television shows including, I’m A Celebrity, Get Me Out of Here!, Celebrity Big Brother, Dancing on Ice and All Together Now in which she was a finalist. Most recently Gemma was seen on screens with her intimate Channel 4 documentary, Gemma Collins: Self-Harm & Me. Before finding fame on The Only Way Is Essex, Gemma was a keen performer having studied dance and winning a place at the renowned Sylvia Young Theatre School.

Faye Brookes (Roxie Hart) reached the final of last year’s series of ITV’s Dancing On Ice. She is best known for her role as Kate Connor in ITV’s Coronation Street, for which she won a National Television Award. Her theatre credits include Princess Fiona in Shrek and Elle Woods in Legally Blonde, both on national tour, Ann/Edna in That Day We Sang directed by Victoria Wood at Manchester’s Royal Exchange, Liesl in The Sound of Music at Regent’s Park Open Air Theatre and Frenchy in Grease at the West End’s Piccadilly Theatre. Faye’s other TV credits include Agnes Franklin in Our Girl and Helena in Atlantis, both for the BBC.

Djalenga Scott’s (Velma Kelly) West End credits include Lily St Regis in Annie at the Piccadilly Theatre, Joseph and the Amazing Technicolor Dreamcoat at the New London and Chicago at the Adelphi, Cambridge and Garrick Theatres. Her other credits include Anita in the national tour of West Side Story, Rizzo in Grease at Curve Leicester, Magenta in The Rocky Horror Show and Carmen in Fame, both on European tours, the US tour of Batman Live and Bombalurina in Cats at Kilworth House. Djalenga’s screen credits include Scarlett/Esme in Trapped for the BBC and Alexandra in the film I Give It A Year.

Set amidst the razzle-dazzle decadence of the 1920s, CHICAGO is the story of Roxie Hart, a housewife and nightclub dancer who murders her on-the-side lover after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media and her rival cellmate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer to transform her malicious crime into a barrage of sensational headlines, the likes of which might just as easily be ripped from today’s tabloids.

Created by the musical theatre talents of John Kander, Fred Ebb and legendary choreographer Bob Fosse, CHICAGO’s sexy, sassy score includes the show-stopping songs “Razzle Dazzle”, “Cell Block Tango”, and “All That Jazz”.  Winner of six Tony Awards, two Olivier Awards and a Grammy, CHICAGO is the longest running American musical in Broadway and West End history.

Since it opened in New York in 1996, CHICAGO has played in 36 countries worldwide and has been performed in English, Dutch, German, Swedish, Spanish, Portuguese, Italian, French, Danish, Japanese and Korean.  Worldwide it has been seen by an estimated 33 million people, grossed over $1.7 billion and played over 32,500 performances.

CHICAGO, which is based on the play by Maurine Dallas Watkins, has a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb.  The 1996 Broadway revival of CHICAGO was choreographed by Ann Reinking in the style of Bob Fosse, directed by Walter Bobbie, and produced by Barry and Fran Weissler.

New Alexandra Theatre, Birmingham – 14th April 2022

Reviewed by Emma Millward

 4****

It’s hard to believe it’s been 13 years since Diversity burst onto the scene and caught the Nation’s attention as winners of ITV’s Britain’s Got Talent in 2009. The audience’s anticipation to see them was evident as soon as the auditorium lights went down.  

The theme of ‘Connected’ is how the internet and especially social media brings all our lives together and how it’s transformed the way we live, love and work. I will admit I came to the show expecting a mostly Hip Hop dance show as we have seen from the dance troupe on multiple TV appearances. I was however pleasantly surprised to find that Ashley Banjo, their charismatic leader, director and choreographer, had put together much more than that, it was more like an old style variety show. It bought together many different styles of music, dancing and even a silent comedy style slapstick dance from three of the dancers at one point. 

The backdrop of the stage was dark and quite stark at first. Then the show started, and the lights and big screens burst with colour and images appeared making it felt like an immersive experience. The big screen backdrop was then used to full effect throughout the show.  It showed snippets of YouTube videos, how internet shopping has revolutionised our lives and made it easier for us to get what we want, and when we want it. Soon the screens were showing us just how much the whole world was changed by Covid-19 and the lockdowns that came with it. Banjo’s baby boy Micah was born during the lockdown, he showed us touching video footage of ‘Zoom’ calls to his parents to show them their new Grandchild. 

Diversity wouldn’t be Diversity without the dancing though, and they delivered on that. 

They took in a range of musical styles, Rock, R&B, Pop. There was a tribute to Michael Jackson thrown into the mix. Along the way Sisqo’s ‘Thong Song’ was included and even a shirt ripping, muscles rippling dancing in the ‘rain’ to end the first half. Which seemed to be greatly appreciated by the screaming crowd, who at times were so whipped up into a frenzy it felt like we were at a rock concert. 

Then came probably their most famous, and for some their most controversial moment. 

The Black Lives Matter routine that won them a BAFTA for the ‘Must See Moment’. This was discussed and the routine was performed to deafening cheers and applause. 

The show closed on a quieter note. Ashley Banjo dancing solo with drones circling round him lighting up the air above him, while images of the Universe flashed behind him on the big screens. It was a peaceful and mesmerising finish to what was a lively, frenetic and at times a thought provoking show. 

I really enjoyed the show and I would definitely recommend people go to see it if they get the chance when Diversity return to the Alexandra Theatre on the 13th-14th June. 

King’s Head Theatre Pub, London – until 16th April 2022

Reviewed by Celia Armand Smith

4****

Drag Queen vs Zombies from the Haus of Dench is a tale as old as time. Two feuding drag queens are trying to save their somewhat flagging careers with a night of huge performances from a blackmailed Elton John who was absolutely definitely probably there amongst other assorted stellar names. The only problem is that a zombie apocalypse has begun and is about to possibly wipe out the whole of the world but more importantly ruin the night. Don’t worry though, Elton gets to perform his Lion King fireworks spectacular before meeting a somewhat grizzly end.

This comedy horror play written by Matthew Stallworthy and Eleanor Mason puts the fate of the audience and the performers in the hands of warring drag queens Kate Butch (vegan) and Crudi Dench (not vegan). The audience is both participant and witness, with a clever use of lighting and sound, and a very very simple yet effective set. As the zombies begin to invade the theatre, both in the auditorium and backstage, we see limbs, ketchup packets, and babydolls with backwards heads deployed to show the coming disaster. Don’t worry, there’s always an antidote and luckily, thanks to a school science lesson conveniently remembered at exactly the right moment, we are all saved by meat free alternative snack. Or are we.

The performances by Kate Butch and Crudi Dench were hilarious and at times heartwarming. Audience participation quite often makes me want to curl up in a ball, but I felt completely at ease with them. As I understand it, Kate Butch makes all her own costumes, so there needs to be a special mention for the sequin jumpsuit she was wearing which was spectacular.

Drag Queens vs Zombies has a bit of everything; comedy, drama, drag queens, zombies, an eyeball attached to a stiletto heel. This mad mix of cabaret and B-movie special effects made for a thoroughly enjoyable hour in the theatre and I can’t wait to see what Haus of Dench do next.

Liverpool Epstein Theatre – until 24 April 2022

Reviewed by Carla Whittaker

4****

If you are looking for some family fun over the Easter holidays, then Christmas has come early with the arrival of panto in Liverpool!  Regal Entertainment Ltd.’s Jack and the Beanstalk is currently playing at the Epstein Theatre, Liverpool until Sunday 24^th April 2022 and I was lucky enough to watch the show last night on Press Night. It provided a night of laughter and giggles for all the family.

This was my first visit to the Epstein Theatre and as you walk in it’s like stepping back in time; a small, old-fashioned theatre which entices the theatregoers to buy sweets and colourful swords from the kiosk. What struck me straight away was the staff who were very friendly and happy to help.

The theatre was full, with lots of excited children waiting for the curtain to rise. The show opened to explosions and smoke plumes as Mrs Fleshcreep (Catherine Cunningham) entered and instantly establishing herself as a panto villain with ‘Feee, fi, fo, fum, I smell the blood of Liverpool’s peasant scum!’.  Backhanded jibes, and local references frequented throughout the show much to the delight of the audience.

Jack and the Beanstalk (directed by Olivia Sloyan, written by Reece Sibbald) is a classic tail which tells the story of a dairy boy Jack (Timothy Lucas), his cow, a bag of beans and a very hungry giant. The beans grow into a beanstalk which leads to the giant living in the clouds and Jack embarking on a heroic quest to save his kingdom with the help of Fairy Mary to win the heart of Princess Jill (Maddie Hope Coelho). The chemistry on stage between Jack and Princess Jill is outstanding, including impressive vocals from them both.

The acts of Dame Dolly Trott (Mark Two) ‘Do’ya like my gear?’ and Simple Simon (the fabulous panto star Lewis Devine) were hilarious and definitely stole the show for me and my family with the pranks/laughter and not so clean jokes! There were buckets of classic and modern comedy which created a light-hearted ambience and atmosphere which only a panto can conjure.  My son was particularly fond of the scene when Dame Dolly looked like she was sat on Donald Trumps shoulders and the scouse charisma / inuendo’s made by Jack. The atmosphere was uplifting, and the audience were hysterical laughing on more than one occasion! 

Regal Entertainment Ltd did a fantastic of the set designs, polytechnics, and no expense spared colourful, vibrant costumes which certainly stood out. Dame Dolly Trott’s costumes were superb (and rumour has it they are made by Mark Two and his wife!). The senior dancers filled the stage brilliantly executing Nazene Langfields choreography flawlessly. 

If you want  2+ hours of family fun and laughter, Jack and the Beanstalk is running until the 24the April 2022 at the Epstein Theatre Liverpool, and if you haven’t got tickets yet, I recommend you do! Thanks Regal Entertainment Ltd /Epstein Theatre for a lovely fun filled night!

Royal Concert Hall, Nottingham – until 23 April 2022

Reviewed by Amy Coulson

5*****

Most people will know the plot, a story of mother and daughter and three possible dads on a Greek island unfolding to the magic of ABBA’s timeless songs. You may not know that Mamma Mia became the 8th longest running show in Broadway history, where it played a record-breaking run for 14 years. I’m not surprised it has had such success, it’s pure joy. This production is an absolute tonic!

Where to start! At the beginning… If you have an appreciation for set design, then you’ll not be disappointed. When I enter the hall, I’m transfixed by the two replications of a traditional Greek villa on the stage, which instantly transport me to sunnier climes. These large pieces are rotated scene to scene to create new locations within the story- I love moving sets. This and the beautiful blue backdrop and lighting, instantly make me feel happy and the tension in my shoulder’s melts away.

The opening scene sees a young Jena Pandya as Sophie Sheridan, full of love and hope as she embarks on a journey of self-discovery. She’s a delight all the way through and found herself in good company alongside a fabulous cast, all bursting with energy. None more so than Sara Poyzer as the spirited Donna Sheridan. Those who know the Hollywood blockbusters, will see the resemblance to the legend Meryl Streep. Sara’s energy, comedic timing and awesome voice surpass Streep, and will have you captivated. There were many times that I laughed out loud at Donna and The Dynamos. Helen Anker as Tanya, one half of Donna’s friendship group, was hilarious as the woman who knows her worth. She uses her tall, slim figure to captivate the attention of half the cast (and audience) and with that came some very funny moments, including a solo. There was some great physical acting amongst the cast and my eyes were darting about, taking in the colour, costumes, and of course, the fabulous dancing.

There are some soft, beautiful moments too, which had me on the verge of tears. ABBA classic The Winner Takes It All, was breath-taking. Again, Sara Poyzer as the overwhelmed Donna sung like a super-trooper, with such emotion that I found myself transfixed. I think I forgot to breathe!

In summary, if you are looking for a show that puts a smile on your face, then Mamma Mia is the show for you! And if you’re not sure what you’re looking for, take a chance…

Edinburgh Festival Theatre, Edinburgh – until Saturday 16^th April 2022

Reviewed by Ellen Searle

3***

For this latest riff on theatrical mishaps, Mischief pairs up with the renowned American magic duo Penn and Teller to bring audiences a carefully crafted spoof of the live magic show. It playfully and fondly mocks the tropes of traditional and contemporary magic, but – and here is the twist – uses actual magic tricks in so doing, where the joke is on, rather than by, the magicians.

At its centre is wannabe great magician Sophisticato (Sam Hill), putting on the ‘Disasters in Magic Charity Fundraiser’ in honour of his late father whose love he didn’t get quite enough of, and whose magician prowess he desperately tries to emulate.  Starring in his fundraiser we have the third rate illusionist ‘the Mind Mangler’ (Rory Fairbairn), parodying the darkly dramatic staging effects used by such entertainers. Mickey (Daniel Anthony) is his incompetent and endearing pre arranged stooge. Next up, and a particular highlight in characterisation, is danger man ‘The Blade’ (Kiefer Moriarty), all black leather, bare chest and rock music, his uber masculinity comicallly dissolving as he cocks up his stunts.  We have the young German gymnast and contortionist sisters Spitzmaus and Bar (Jocelyn Prah and Chloe Tannenbaum),  and of course our very own Debbie McGee style magician’s assistant and arts patron in the shape of Eugenia (Valerie Cuiko).  Key members of the cast are the pretend backstage crew, mucking up the autocue, mistiming automated prop movements, and being hit by stray flying knives and the like.

Since their first production at the Fringe back in 2008, Mischief have had a string of successes, including The Play That Goes Wrong, Peter Pan Goes Wrong, and A Christmas Carole Goes Wrong.  You get the drift.  With a host of coveted awards, West End and Broadway runs, national tours and TV adaptations to their name, it is clear that Mischief are on to something with their meticulously planned and delivered slapstick take offs of performance genres. And indeed, here, as we have come to expect, all the performers play their roles highly professionally, with excellent comic timing, and with absolute expertise in the real magic tricks sitting within the magic appearing to go wrong. Unfortunately though Magic Goes Wrong lacks the vitality of Mischief’s earlier ventures. The humour is largely predictable and the jokes at times repetitive.  That said, it has its moments and is highly watchable, and for lovers of magic shows, and dedicated fans of Mischief, it holds real charm and provide a very enjoyable night out.

Theatre Royal, York – until 14^th April 2022

Reviewed by Katie Goldsbrough

3***

Rice, by Michele Lee and directed by Matthew Xia tells the story of Nisha (Anya Jaya-Murphy) and Yvette (Angela Yeoh), who form a bond while working at Rice company, Golden Fields. Nisha is second in command executive officer and Yvette as a cleaner.

Set in Australia, Nisha dreams of being a CEO, one of Grandmothers greatest desires for her. Being of Indian heritage herself she fights hard to secure a huge rice deal with India. Others believe the deal is never going to happen, yet Yvette urges Nisha not to give up. After floods in western Bengal affect the Indian rice paddies Golden Fields travel to India and we see Nisha’s desperation in trying to seal a deal, which has been 14 months in development. Yvette, an older Chinese migrant, has her own issues to deal with after her daughter organises a protest leading to her facing jail time. She must also deal with her failed business, selling fake designer bags and shoes.  Nisha and Yvette begin to advise each other and try to help each other out. This doesn’t always have the best outcome and they seemingly end the play in worse positions than when it began. Although perhaps this is just the start of a new beginning for them both. 

With the two actresses playing a range of characters and one office set being used for the duration of the play (despite one scene taking place in the Indian rice paddy fields) it can be a bit confusing at times. But the story is interesting and the two actresses are both very good at changing from character to character using a range of accents. It ends on a bit of a cliff hanger with no clear idea as to what either character is going to do next. An interesting play which may benefit from different sets for different scenes.