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FELICITY KENDAL TO STAR IN
THE 40^TH ANNIVERSARY PRODUCTION OF
MICHAEL FRAYN’S BELOVED COMEDY
NOISES OFF

DIRECTED BY LINDSAY POSNER

PRE-WEST END TOUR FROM SEPTEMBER 2022

Theatre Royal Bath Productions presents one of the greatest British comedies ever written, starring one of our best-loved stage and screen stars, Felicity Kendal.

Directed by Lindsay Posner, the award-winning farce by Michael Frayn will open in Bath before heading onto Richmond, Brighton and Cambridge. Further casting to be announced.

Michael Frayn’s celebrated play serves up a riotous double bill – a play within a play. Hurtling along at breakneck speed, Noises Off follows the on and off-stage antics of a touring theatre company as they stumble their way through the fictional farce, Nothing On. From the shambolic final rehearsals before opening night in Weston-super-Mare, to a disastrous matinee in Ashton-Under-Lyme seen entirely, and hilariously silently, from backstage, before we share their final, brilliantly catastrophic performance in Stockton-on-Tees.

One of the UK’s best-loved actors, Felicity Kendal plays the role of the forgetful Dotty Otley. Having shot to fame in The Good Life, Felicity has won numerous awards for her stage work. Recent visits to Bath have included Relatively Speaking, Hay Fever and The Argument.

Noises Off will be directed Lindsay Posner, one of the UK’s most accomplished directors of comedy. His previous production of Noises Off enjoyed a sell-out run at London’s Old Vic. His recent productions in Bath include God of Carnage, Stones in his Pockets, She Stoops To Conquer, and he previously directed Felicity Kendal in the West End transfer of Hay Fever.

After watching from the wings a production of his 1970 farce The Two of Us with Richard Briers and Lynn Redgrave and noting that the goings on behind the scenes were funnier than out front, Michael Frayn wrote Noises Off. The original production opened in London in 1982 before becoming a worldwide hit. A feature film was made of Noises Off in 1992.

Birmingham Rep – 12th March 2022

Reviewed by Amarjeet Singh

5*****

As a novice of dance performances, 40 Years of Phoenix reverberated through to my very core. I was dumbstruck by the intensity and power of the performances, the skill and the storytelling through movement and music.

Phoenix Dance was founded in Leeds in 1981 by three young black dancers, David Hamilton, Donald Edwards and Vilmore James. Over four decades and eight artistic directors, the company has grown from its small-scale, local roots to become one of the elite companies in the country, touring both nationally and internationally and building a significant body of work.

For tonight’s 40th Celebration, artistic director, Dane Hurst appears to have chosen iconic pieces to represent the past forty years and expertly express the breadth, depth and richness of what dance can achieve. The selected pieces are an amazing cross-section of powerful, humorous, and athletic works.

Highlights for me were the remarkable Signal, Harmonica Breakdown, and Pave Up Paradise.

‘Signal’ assaulted your senses as soon as the curtain lifted. The intense, loud drumming fills your ears and chest. Dancers leaped, undulate, and wrestled to the drumming and fire which was lit on stage and inducing a primitive fugue state. The choreography shifts from synchronicity and apparent chaos, offering intense, sinuous physical shapes and full-body gestures which leaves you bereft of logic, just emotion.

‘Harmonica Breakdown’ is a solo piece performed with intensity and repetitive control, accompanied by an entrancing piece of music of the same name. Harmonica Breakdown paints a picture of repression and rebellion amongst women in America during the Great Depression. It is a short, captivating and thought-provoking, historical piece which resonates still.

However, it was “Pave Up Paradise“, that stole my heart. The only piece with spoken word, “Pave Up Paradise” presents us with a modern-day Adam and Eve story which weaves Biblical themes of forgiveness, blame and guilt, into a contemporary setting. You feel as if you have stumbled upon the middle of a drunken night out which then, surprisingly, unfolds into a touching, evocative and beautiful piece of hybrid dance and theatre. Joined on-stage by a guitarist playing indie hits, you are drawn even more into the drunken night out scenario with the conjuring up of an impromptu busker’s soundtrack, but this is juxtaposed by the sudden undress, melancholic movements, subtle ape like grooming and the fateful bite of the apple. Such a clever, witty, and stunning piece, it has stayed with me.

Varied, enigmatic and breath-taking, this selection of works from 40 Years of Phoenix, danced with commitment by this talented, skilled, and flexible troupe, beautifully highlights the reason why this company are elite in their field and deserve to be celebrated.

Southampton Mayflower – until 26th March 2022

Reviewed by Lucy Hitchcock

5*****

Southampton hosts the iconic Les Miserables and it is a phenomenon! Directed by Laurence Connor, with exquisite music and accompaniment from Herbert Kretzmer, Alain Boublil and Claude Michel-Schönberg, Les Miserables will make you laugh, cry and invest in the lives of the characters.

We follow Jean Valjean (Dean Chisnall) as he is released from prison, breaks his parole and lives on the run from his former prison guard Javert (Nic Greenshields). Chisnall is superb in this piece, he has a great voice and stage presence. Together with the delicious storyline, Chisnall excels and draws you in from the first breath, leaving the audience heartbroken and crying by the end. Greenshields also commands the stage with ease and when coupled with his brilliant vocals during ‘Stars’, we see his true prowess. He shows empathy and grace, intertwined with angst and aggression-a difficult combination but he delivers expertly. Katie Hall plays Fantine, a dying woman who sings ‘I dreamed a Dream’-the longing for her life before she became poor and had to give up her child. Easily the most recognisable song, this is a true masterpiece and Hall was excellent. She gives her all and poured herself into the song, making for a moving performance. William Barrett also deserves a special mention for his performance as the Bishop-he was visibly moving with his empathy for Valjean and showed such emotion and love. He also has a great voice that filled the auditorium with emotion and brilliance. Also, Helen Walsh and Ian Hughes as Madame Thenardier and Thenaedier provided some much needed comic relief and both relished within their roles.

It was a poignant moment when the cast mentioned the atrocities happening in Ukraine, directing the audience towards a QR code to donate towards the fundraising. This show runs almost parallel to the war in Ukraine and was particularly moving in this sense. This exquisite soundtrack mixed with this absolutely faultless cast will leave you feeling emotional in every way possible-a true must see.

The Lowry, Salford – 11 March 2022

Reviewed by Charlotte McWilliam

4****

Written in 1735, Alcina was composed especially for Handel’s new opera company based at the Theatre Royal, Covent Garden. Set to some of his finest music, the story of Alcina is as far-fetched as one would expect from a Handel piece including all the usual trimmings of love, magic, and heartache cleverly decorated with numerous ornamental embellishments and more than the odd cadenza thrown in for good measure.

On a faraway island, Alcina, a magical enchantress, lures men to her shores and casts a spell on them making them fall madly in love with her. Looking for her lover, Ruggiero; Bradamante arrives on the island disguised as a man calling herself, Ricciardo. Bradamante is heartbroken to learn that her lover is now under Alcina’s spell and longs for a way to break the spell. From early on in Act 1, Bradamante is cruelly subjected to Ruggiero’s (played by Patrick Terry) spell bound lust for Alcina. He (semi naked and with an incredibly hairy chest) and Alcina writhe around amorously on a tiger skin rug – the picture of raunch. Terry is quite possibly one of the best counter tenors I’ve heard to date. He sailed through the repertoire with comfort and ease, rivalling some of the best sopranos at times. Through endless coloratura and dramatic exchanges, the spell is eventually broken and Bradamante and Ruggiero can be together once more.

Directed by Tim Albery, Opera North have cast well within this production. For an opera with no chorus, the casting is impressive – each member of the small cast excelled within their individual character and the calibre of singing was some of the best I have heard from Opera North. Missing the usual elaborate set one would expect at traditional opera, this production felt slightly lacking at times and unless one is an “Opera Buff”, it could have been perceived as boring from an aesthetical point of view. With a minimal set of chairs and a computer-generated backdrop, the production did feel slightly more rehearsal space than fine theatre.

The role of ‘Alcina’ was sung by Australian soprano, Sky Ingram. Ingram commanded the stage with her glamourous height and was the ultimate seductress. Her full soprano voice had tremendous blade and a depth of colour which carried well considering the theatre is so modern. The Lowry is renowned for its ungenerous acoustic and without the use of amplification can be a difficult venue to be heard in over the orchestra.

Fflur Wyn, as Moragna (Alcina’s sister), stole the show for me with her impressive coloratura and ornamental embellishments typical of the baroque period. Wyn’s delivery of ‘Credete al mio dolore’ was an overall highlight of the production. Her legato bel canto was simply stunning.

Overall, Opera North have produced a high-quality production of Alcina. What the piece lacked in set was certainly made up for in talent. This high-quality cast is really the crème de la crème. Congratulations Opera North – another stunning production

Menier Chocolate Factory – until 17 April 2022

Reviewed by Claire Roderick

4****

The magnificent Maria Friedman shares songs and stories from her friends Stephen Sondheim, Marvin Hamlisch, Michel Legrand in this intimate and magical show.

Opening with a soul-stirring rendition of Being Alive, it’s not long before Friedman kicks off her heels and starts chatting to the audience as if we are old friends reminiscing together over a few drinks and songs. The love shared by Friedman and the three composers is evident across the evening as old favourites are performed and Friedman tells sweet anecdotes ranging from their first meetings to later life, with their mutual admiration and respect shining through. The biggest laughs came from the stories Marvin Hamlisch’s widow told. The relaxed and free-wheeling atmosphere as Friedman chats with Ian McLarnon and Matthew White about their long friendships and performances together changes as soon as it’s time for the next number, as every performer onstage is outstanding. Director David Babani keeps the show from going off the rails but maintains the convivial feel at just the right level.

Surrounded by her four main “friends” Friedman doesn’t always take centre stage, with White and McLarnon excelling in their solos. Newcomers Desmonda Cathabel and Alfie Friedman (Maria’s son) are astounding – Cathabel’s “The Miller’s Son” is remarkably layered and Alfie Friedman’s performance of “Franklin Shepard, Inc.” was simply phenomenal. Guest performer Aoife Dunne was charming, and the smile on Maria Friedman’s face as she watched these young artists onstage was delightful to see. She knows the legacy of these three men is in safe, but exciting hands.

Musical director Theo Jamieson is a wizard on piano – his arrangements perfectly suiting the performers – with James Powell on drums and Paul Moylan on double bass (who appears to have played in every show in London and has a wonderful cameo).

With so many gorgeous songs to choose from in the three composers works, the selection for this show is extremely well balanced. Sections from Sunday in the Park with George and A Chorus Line are entrancing, with the young choir getting their chance to shine. Friedman and Matthew White have a ball with the darkly comic “A Little Priest”. Friedman’s rich and emotive voice is equally convincing as a young wannabe performer in “Broadway Baby” and in her world weary and heart-breaking “Losing My Mind”. The evening flies by as you just bathe in her glorious vocals and incredible stage presence.

This is a not to be missed show – a warm and welcoming celebration of friends, old and new, showcasing incredible talent and unforgettable performances.

New Victoria Theatre, Woking – 11 March 2022 and touring

Reviewed by Antonia Hebbert

4****

Madama Butterfly is the kind of opera that puts you through an emotional mangle at the best of times, and this is a pretty bad time. Tonight’s conductor (Vasyl Vasylenko) and some of the performers are Ukrainian. You couldn’t help wondering how they were feeling as the performance went on, and at the end they had a chance to show us. The Ukrainian flag was raised, and the cast sang the Ukrainian national anthem. We stood and clapped and cheered in a heartfelt response (and then hopefully went home and researched ways to help Ukraine in a more practical way).

On with the review – the American Lieutenant Pinkerton has docked in Nagasaki, and cynically goes through a marriage ceremony with Japanese girl Cio-Cio San, known as Madame Butterfly. For him, it’s bit of fun before he has a ‘real’ marriage back home. But for her, it’s true love and total commitment. We learn that Butterfly is 15 years old – ouch. Off sails Pinkerton, and leaves Butterfly holding the baby. Three years later he’s back, but with a wife, Kate, who offers to care for the child. Cio-Cio San sees that she has lost everything, and reaches for the sacred blade that her father used to kill himself…

Cio-Cio San is no pathetic victim however – she is also the strongest and finest character in the opera. Elena Dee has a fabulous voice and sang the role with wonderful dignity and grace, managing to achieve both delicacy and steeliness. Vitalii Liskovetskyi made a suitably self-satisfied sleazeball Pinkerton, devastated by remorse in the last act when he realises what he has done. He was booed at the end, but in a cheery, appreciative way. Katerina Timbaliuk (the maid Suzuki) and Vladimir Dragos (consul Sharpless) came into their own in the moving exchanges towards the end. Anastasiia Blokha also had dignity as Kate, which is a small part but has to have presence.

It’s sung in Italian, but with surtitles above the stage so you can follow the words. The set is all very charming: a Japanese-ish pavilion with sliding screens, and masses of blossom all around. The women’s chorus were fine as the relations who flounce off and reject Chio-Chio San; the men’s chorus seemed weaker, with an orientalist style of walking that perhaps could be abandoned.

This is a production by Ellen Kent, who is known for a sort of industrialisation of opera and ballet, bringing colourful shows and Eastern European performers in particular to big audiences outside the West End and other main centres. Tonight we were especially pleased to see them.

York Theatre Royal – until Saturday 12th March 2022

Reviewed by Michelle Richardson

5*****

The Le Navet Bete Theatre Company, based in Exeter, have returned once again to York Theatre Royal, with their take on Robert Louis Stevenson’s legendary tale. I have seen them on the two previous occasions and was looking forward to their brand of physical comedy.

The company of four, Al Dunn, Matt Freeman, Dan Bianchi and Nick Bunt, brings to life, with a fresh twist, the story of Jim Hawkins, Long John Silver, Ben Gunn and Captain Flint’s buried treasure. It might not be the story you may be used to, but boy is it entertaining. Bunt plays Jim, whilst the others play a variety of characters, even Captain Birdseye and a mermaid!

From a misty start, with treasure being buried on stage, we are treated to 2 hours and 20 minutes, including interval, of pure unadulterated slapstick and fun. After the curse of the black dot and the discovery of a treasure map, we follow Jim from his family inn, across the seas to the Caribbean. Recruiting crew members, including the aforementioned Captain and Long John Silver, with his wooden leg and his faithful parrot Alexa. This is no normal parrot, you’d expect nothing less than this modern take, it’s all courtesy of the Amazon and would mishear requests and order unwanted items.

With a segment of Play Your Cards Right we had a great time with higher and lower, and then all loved joining in later with a heave and a ho. There were quite a few school children in the audience, at first, I was a bit wary, but they only added to the whole experience with their laughter and chuckles, especially at the “risqué” parts, with references to the Jolly Todger and Little Todger. We all couldn’t help but join in with all the fun and laughter.

Bunt plays a convincing 14-year-old, all wide-eyed and innocent. Dunn’s main character is Long John and he steers the story along, appearing to be the good guy, but is full of skulduggery and is hiding, well at least to Jim anyway, his piracy. Bianchi does a fab impression of the Captain, with his love of fishfingers, but is he in disguise? Freeman is outstanding as Vanessa, complete with wardrobe malfunction, the mermaid, flapping about on stage, Alexa, and the Jean Paul Gaultier inspired, Blue Peter, now what an outfit! He has such a presence on stage with his knowing smile and such an expressive face, he’s not afraid to go that extra mile. All the company are amazing in their different roles and are the perfect foil for each other.

There are gags aplenty and the action does not let up, full of contemporary comedic twists. You are left wandering if all the physical comedy is scripted, with all the trips and gaffes, but I very much doubt it and it only added to a great evening’s entertainment. I have always enjoyed their shows, but this is my favourite, for now at least.

Are they boys with their childish humour, or men who are masters of their craft? I believe the latter, but maybe a bit of both, you decide. This is some serious, good old laugh-out-loud fun and should not be missed.

The Leeds Playhouse – until 11th March

Reviewed by Dawn Smallwood

4****

Jaha Koo’s The History of Korean Theatre is part of the Transform 21 22 Festival which proudly engineers powerful performances. Transform is reputedly renowned for boldly, bravely, and vividly creating and recreating performances aiming to make everyone politically and socially conscious. They aren’t afraid of not following traditional and stereotypical conventions and encourages one to question the existing ones.

The History of Korean Western Theatre, part of Koo’s Hamartia trilogy, addresses exactly these issues. Based on the centenary of Korean Theatre’s in 2008, Koo questions how theatre is perceived in the country, how it has been heavily relied on Imperial and Western cultures and traditions, and how much these have influenced the theatrical canons. Koo questions how people rely on Western Culture such as Shakespeare rather than its Korean ancestors and its rich culture.

The performance is multimedia with eye catching and thought-provoking moving visuals in the background and Koo, a South Korean filmmaker, explores and documents deeply his personal journey. He questions how the country’s theatrical traditions amid a turbulent social and political landscape have influenced over the past 100 years. There are some good usages of props that intertwine and communicate with Koo with the everyday life, past and present while addressing the issue.

The temptation to dwell and rely heavily on embedded perceptions and censorships in the past is shifted to contemporary and openness. This looks into the future how the new generation can move Korean theatre forward into the 21st Century.

This 60-minute performance is well put together and encourages one to think widely the definition and perception of theatre where definitive answers aren’t the options.

THE UK AND IRELAND TOUR OF
THE SMASH HIT ROMANTIC MUSICAL COMEDY

ANNOUNCES

DAVID HUNTER AS ‘DR POMATTER’
AND
WENDY MAE BROWN AS ‘BECKY’

JOINING

CHELSEA HALFPENNY AS ‘JENNA’

AND 
EVELYN HOSKINS AS ‘DAWN’

Producers Barry & Fran Weissler and David Ian are delighted to announce that David Hunter and Wendy Mae Brown will join the cast of the UK and Ireland Tour of the smash hit romantic musical comedy WAITRESS as ‘Dr Pomatter’ and ‘Becky’. waitressthemusical.co.uk

Wendy Mae Brown joins the production from 30 March 2022, David Hunter will appear in Llandudno from 30 March to 2 April 2022 and then from 30 May 2022.

They join Chelsea Halfpenny as ‘Jenna’, Evelyn Hoskins as ‘Dawn’, George Crawford as ‘Ogie’, Michael Starke as ‘Joe’ Tamlyn Henderson as ‘Earl’ and Christopher D. Hunt as ‘Cal’. The company also includes Monique Ashe-Palmer, Amelia Atherton, Donal Brennan, Aimée Fisher, Scarlet Gabriel, Nathanael Landskroner, Charlie Martin, Liam McHugh, Olivia Mitchell, Ben Morris and Brian Roland.

David Hunter reprises his role as ‘Dr Pomatter’ having originated the role in the West End production of Waitress at the Adelphi Theatre. His other West End credits include Kinky Boots, Once, One Man, Two Guvnors, Songs For A New World, Tommy and Seussical. David gained national notoriety during his time on ITV’s Superstar, competing to play the role of ‘Jesus’ in Jesus Christ Superstar. His other film and television credits include Nativity 3, Holby City and Doctors. David is also the front man of pop-rock band, Reemer.

Wendy Mae Brown’s West End theatre credits include The Book of Dust, The Lorax and Kiss Me, Kate. Her other theatre credits include To Kill A Mockingbird, Ghost The Musical, Rent and South Pacific. Her television credits include Almost Never, River, Man Down, Porters, 40 North and Casualty. Wendy’s film credits include Four Weddings and a Funeral, Your Christmas or Mine?, Last Chance Harvey and Blackbeard The Pirate.

Chelsea Halfpenny began her career in the popular children’s television series Byker Grove. She appeared as ‘Amy Wyatt’ in Emmerdale for three years and ‘Alice Munroe’ in Casualty, a part she played for four years. Chelsea recently made her West End debut as ‘Judy Bernly’ in 9 to 5 The Musical at the Savoy Theatre.

Evelyn Hoskins most recently played the role of ‘Dawn’ in Waitress in the West End at the Adelphi Theatre. Her other theatre credits include the title role in Carrie at Southwark Playhouse, Spring Awakening at the Lyric Hammersmith and in the West End, Assassins at the Nottingham Playhouse and Watermill Theatre, Mrs Henderson Presents at the Royal Alexandra Theatre in Toronto, Peter and the Starcatcher at Northampton’s Royal & Derngate, This Is My Family at Sheffield Crucible and on UK Tour, The Boy Who Fell Into A Book at the Stephen Joseph Theatre and The Secret Garden at Birmingham Rep.

WAITRESS is based on the 2007 movie written by Adrienne Shelly. Music and lyrics are written by GRAMMY award-winning, singer-songwriter sensation Sara Bareilles, who appeared on the Graham Norton TV show, performing the hit song from the show She Used To Be Mine. With a book by Jessie Nelson, direction by Tony-award winner Diane Paulus and choreography by Lorin Latarro, Waitress has garnered multiple awards and nominations in both America and the UK, receiving acclaim from both audiences and critics alike.

WAITRESS opened on Broadway on 24th April 2016 at the Brooks Atkinson Theatre, where it ran until 5th January 2020. Waitress celebrated its official opening night at the Adelphi Theatre in London’s West End on 7 March 2019. The North American tour of Waitress is currently on hold due to COVID-19. Waitress is currently on tour in Japan (Japanese language production), and is set to open in Australia and Holland.

WAITRESS tells the story of Jenna, an expert pie maker in a small town, who dreams of a way out of her loveless marriage. A baking contest in a nearby county and the town’s new doctor may offer her a chance at a new life, while her fellow waitresses offer their own recipes to happiness. But Jenna must find the courage and strength within herself to rebuild her life. This beautiful musical celebrates friendship, motherhood, and the magic of a well-made pie.

Book by Jessie Nelson

Music and Lyrics by Grammy Award-winner Sara Bareilles

Based upon the motion picture written by Adrienne Shelly

Directed by Tony Award-winner Diane Paulus

WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick. The tour is produced by Barry & Fran Weissler and David Ian Productions.

JASON MANFORD TO MAKE HIS PANTO DEBUT

AT MANCHESTER OPERA HOUSE
THE PANTOMIME ADVENTURES OF PETER PAN

SAILS INTO MANCHESTER THIS CHRISTMASS

at 10 Dec – Sat 31 Dec 2022

Manchester Opera House has announced that comedy superstar Jason Manford will lead the cast in The Pantomime Adventures of Peter Pan in the role of Captain Hook, joined by returning Manchester panto favourite Ben Nickless as Smee.

Stand-up comedian, actor, singer, radio and television presenter Jason Manford began his career in 1999, while working at the Buzz Comedy Club in Chorlton, Manchester, and since then has regularly packed-out theatres and arenas up and down the country with his award-winning comedy.

Jason is no stranger to our television screens having presented numerous television shows for the BBC and ITV, and was also a Team Captain on the popular Channel 4 panel show 8 Out of 10 Cats. Jason has also starred in numerous stage musicals in the West End and across the UK, including Sweeney Todd, The Producers, Chitty Chitty Bang Bang, Guys and Dolls, and Curtains.

Jason Manford said “I’ve been going to panto since I was a kid and now experience the magic with my own children. So to make my debut and be part of this year’s Manchester pantomime feels like a huge honour. I’m nervous of course, and slightly worried about how a 40-year-old out of shape father of six is going to play Peter Pan, what with all the flying and sword fighting but I’ll give it my best shot…what’s that? Ohhhh! I’m playing Hook. Right, well that certainly makes more sense! Can’t wait.”

Chief Executive of the world’s biggest panto producer, Crossroads Pantomimes, Michael Harrison said “Jason is without question one of the most in-demand comics of the moment and I’m absolutely thrilled to have his phenomenal talents leading our Manchester Opera House panto this Christmas.”

Joining Manford will be Ben Nickless in the role of the bumbling shipmate Smee. Rochdale-born Nickless started his working life playing the comedy clubs in the North West and his career took off in 2006 when he performed his own style of comedy and impressions on the BBC television series Let Me Entertain You alongside Brian Conley and Christine Bleakley, winning his episode. Ben returns to the Manchester Opera House panto by popular demand, having played Wishee Washee in Aladdin, Muddles in Snow White and Buttons in Cinderella.

The Pantomime Adventures of Peter Pan is produced by Crossroads Pantomimes and will feature spectacular special effects, live music, beautiful costumes and stunning sets.

Further casting will be announced later in the year.

The Pantomime Adventures of Peter Pan weighs anchor at the Opera House from 10th – 31st December with tickets from £13. For more information, or to book, visit www.atgtickets.com/Manchester.