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HAMPSTEAD THEATRE ANNOUNCES THE RETURN OF ITS OLIVIER-NOMINATED HIT PRODUCTION FOLK, RUNNING FROM 24 JUNE UNTIL 30 JULY

Following its sold-out run earlier in the year, Hampstead Theatre is delighted to announce the return of Folk, Nell Leyshon’s beautiful new play with songs, directed by Hampstead’s Artistic Director, Roxana Silbert.  Currently nominated for a 2022 Olivier Award, Folk returns with the complete original cast, Ben Allen (Measure for Measure, Donmar), Sasha Frost (Persuasion, Rose Theatre Kingston), Mariam Haque (Behind the Beautiful Forevers, National Theatre) and Simon Robson (The Schumann Plan, Hampstead Theatre).

Silbert will be reunited with Designer Rose Revitt, Lighting Designer Matt Haskins, Director of Music Gary Yershon, Sound Designer Tingying Dong and Movement Director Ayse Tashkiran.  Associate Sound Designer Anna Short will also join the team.

Inspired by a true story and set in her home county of Somerset, Nell Leyshon’s beautiful new play features live folk song. 

Tickets go on sale from Thursday 24 March at 10.30am at hampsteadtheatre.com.

Nell Leyshon, playwright ofFolk, said: 

“The response to Folk was overwhelming and I’m thrilled this brilliant production by Roxana Silbert and Hampstead Theatre will be on again, and with all the original extraordinary cast.  From the moment I heard Louie Hooper’s story I wanted to tell it, and I am so pleased more people can hear what she has to say about folk music, nationalism and identity.”

Roxana Silbert, Artistic Director of Hampstead Theatre and director of Folk,said:

“It’ll be an enormous pleasure to revisit Louie Hooper and her relationship with Cecil Sharp, the first time this story has been told on stage, in Nell Leyshon’s beautiful play, and share it with audiences once more.  I am delighted that all of the original company will be reunited as this was a uniquely collaborative project, which warmed so many people’s hearts when we performed earlier this year.”

***

“I’ll tell you one more thing. I got more songs in my head than I ever told you.I got enough to sing for days…”

1903, Somerset.  Rooted in the land where she has lived her entire life, Louie Hooper’s mind overflows with its songs – more than 300 of them passed down from her mother.  Cecil Sharp, a composer visiting from London, fears England’s folk songs will be lost forever and sets out on a mission to transcribe each and every one.  He believes Louie’s music should speak not just for this place but for the whole of England.

Nell Leyshon’s theatre credits include Comfort Me With Apples (also previously nominated for an Olivier Award for ‘Outstanding Achievement in an Affiliate Theatre’ and winner of the Evening Standard Award for Most Promising Playwright) and Glass Eels (both Hampstead Theatre), Don’t Look Now (Sheffield / Lyric Hammersmith) and Bedlam (Globe).  

Roxana Silbert’s production of Alexis Zegerman’s The Fever Syndrome begins previews on Hampstead Theatre’s Main Stage tonight, running until 30 April.  The Fever Syndrome will be Silbert’s third Main Stage production at Hampstead, following Al Blyth’s espionage thriller The Haystack (2020) and Marsha Norman’s Pulitzer Prize-winning play ‘night, Mother (2021).  She also recently directed Deborah Bruce’s tender new play Raya (2021) at Hampstead Downstairs. 

Folk is a T. S. Eliot Foundation commission.  A production of Folk aired on Radio 3 in May 2021 as part of the BBC’s Lights Up series, which turned the spotlight on plays whose staging had been delayed by the pandemic.  Hampstead Theatre’s world premiere production of Folk ran from 18 December 2021 until 26 January 2022. Folk is currently nominated in the Outstanding Achievement in an Affiliate Theatre category at the 2022 Olivier Awards.

EMPIRE THEATRE, LIVERPOOL – UNTIL SATURDAY 26TH MARCH 2022

REVIEWED BY MIA BOWEN

5*****

Did you happen to notice how many yellow cars you passed on your way to work? What about the number of people on the number 1 bus? Those who are on the autistic spectrum will do. Based on the best selling novel by Mark Haddon and adapted for stage by Simon Stephens, this production lets the audience see how people with autism and neurodiversity, think and experience the world.

Christopher Boone (David Breeds) is presented as a mathematical genius who has trouble interpreting social situations and everyday life presents some barriers for him. He detests being touched and distrusts strangers, in his own words he has ‘some behaviour difficulties’. When his neighbour’s dog Wellington is killed, he sets out to solve the mystery. As he becomes more involved with the murder case, he ends up discovering the truth about his own life and family. His journey in looking for the dog’s murderer soon becomes a search for his mother Judy (Sophie Stone).

The wondrous strange workings of Christopher’s mind, is demonstrated through a mathematical grid set and versatile props by designer Bunny Christie. One particular beautiful moment, is when Christopher builds a toy train set which comes to life on stage. Paule Constable’s accent lighting and Adrian Sutton’s electronic score both contribute to providing the context and conditions of the action of the play.

The character with the most significance in the play is Siobhan (Rebecca Root), Christopher’s teacher. She brings a lovely soothing tone as the narrator to the production. Christopher seems really fond of her and their magical teacher-student relationship shines when Christopher celebrates his maths A level result which means the world to him. Although his father Ed (Tom Peters) understands him well, Siobhan is the only one who really speaks his language, she understands his needs and strengths.

This ingeniously staged production has been recognised for its beautiful portrayal of the unique perspective, children like Christopher have on the world. It is a play full of heart, warmth and emotion, tackling heavy themes including neurodiversity, family violence and mental health. It is a coming of age story about a boy who struggles to fit in but who pushes back at the world and believes he can do anything. You will think, laugh and most of all, look at the world around you in a different way. Be sure to stay right until the end!

LIVERPOOL EMPIRE THEATRE TRUST BRINGS NATIONAL THEATRE PRODUCTION TO WIRRAL SCHOOLS IN PARTNERSHIP WITH THE HOLY FAMILY CATHOLIC MULTI ACADEMY TRUST

Hamlet’s dad is dead. His uncle has taken over the kingdom and married Hamlet’s mum. The whole world feels like it’s turned upside down. A ghostly encounter reveals a dreadful deed has been done. Should Hamlet take revenge?

The Liverpool Empire Theatre Trust has been helping to introduce young audiences in Wirral to the world of Shakespeare by funding a National Theatre schools tour of Hamlet in partnership with the Empire’s Creative Learning department and the Holy Family Catholic Multi Academy Trust.

Funded by the Empire Theatre Trust the production was hosted at St Josephs RC Primary – a primary school in The Holy Family Catholic Multi Academy Trust and welcomed seven Wirral schools to experience this fantastic opportunity from 7th March including: 

• St Werbugh’s RC Primary School, Birkenhead 
• St Anne’s Primary School, Birkenhead
• Our Lady of Pity RC Primary School, Wirral 
• St Bernard’s RC Primary School, Ellesmere Port  
• St. John Plessington Catholic Secondary School, Wirral 
• St. Mary’s Catholic College, Wirral 

Natalie Flynn, ATG’s Senior Creative Learning Manager said, “Educational engagement is at the heart of what we do, and this project is the perfect way to inspire a new generation of theatre lovers. Due to the generosity of the Theatre Trust we have been able to bring the National Theatre production of Hamlet to young people in the Liverpool City Region at no direct cost to the schools. It’s been a great way to build upon and celebrate our incredibly important partnership with the Academy Trust.”

Klare Rufo, Director for Development and improvement at the Holy Family Catholic Multi Academy Trustsaid, “Holy Family Catholic Multi Academy Trust is so proud to be working with the Empire Theatre and The National Theatre to bring this amazing opportunity to both the children of our own trust schools and some of our local schools too. Providing these amazing opportunities for our children is absolutely essential and for many this has been their first encounter with Shakespeare. The children have enjoyed the show and the workshops so much and our parents have been in touch to say how excited the children have been reliving the experience at home.”

The project in Wirral is part of a wider nationwide tour by the National Theatre and will also be performed in the Dorfman Theatre from 24^th March – 6^th April. The tour will reach over 5,000 pupils across four weeks as part of the NT’s commitment to introducing children and young people to theatre, also visiting schools in Wolverhampton, Sunderland and South Essex.

Director Tinuke Craig said, “I’m so thrilled to be revisiting this project- especially after it was cut short by the start of the pandemic in 2020. It’s a big challenge to take one of the greatest works in the canon and distil it to an hour long play for 8–12-year-olds, but one I’m so excited to be taking on again along with a fantastic cast and creative team. Not only do we have the task of creating an engaging production for an audience, but we also have a responsibility to introduce younger audiences to theatre, bringing productions to their home turf to provide an early, and often first, experience of Shakespeare that is welcoming, inclusive, exciting and fun.”

Rufus Norris, Director of the National Theatre said, “It’s so important that children from all backgrounds feel that the arts are open to them to participate in and enjoy, and so we’re delighted to bring Tinuke Craig’s reimagining of Hamlet to the stage of the National Theatre and directly into school halls. We hope this exciting first experience of Shakespeare and live theatre will inspire young audiences to discover more about theatre-making and support teachers to ensure creative learning continues to be a key part of a rounded education”.

LONDON CLASSIC THEATRE ANNOUNCE

UK TOUR AND FULL CAST OF BOEING BOEING

London Classic Theatre today announces a new UK tour of Marc Camoletti’s BOEING BOEING.Michael Cabot directs Nathalie Barclay (Gabriella), Jo Castleton (Bertha), Isabel Della-Porta (Gloria), Jessica Dennis (Gretchen), John Dorney (Bernard) and Paul Sandys (Robert) in a translation by Beverley Cross and Francis Evans.

The production opens at Lighthouse Poole on 19 May before touring to Mold, Bath, Eastbourne, Bury St Edmunds, Derby, Guildford, Malvern, Cambridge and Winchester, concluding at Darlington from 26-30 July 2022.

Artistic Director Michael Cabot said today “I’m very excited to be working on this wonderful piece with a terrific cast and creative team.  Boeing Boeing is one of the longest running and most successful farces ever written for the stage.  In terms of comedy, it really has got it all – larger than life characters, an improbable plot and an abundance of comic mayhem.  It promises to be great fun, but I also hope we can bring a contemporary twist to the story – the women in the play are definitely no pushover and Bernard will be getting a very powerful taste of his own medicine.”

London Classic Theatre present

BOEING BOEING

Written by Marc Camoletti 

Translated by Beverley Cross and Francis Evans

Directed by Michael Cabot;Set & Costume Design by Bek Palmer; Lighting Design by Matthew Green

UK Tour

19 May – 30 July 2022

Paris, 1962. Bernard, a successful architect, has a very complicated love life. His three fiancées, Gloria, Gabriella and Gretchen, work for different airlines with different timetables. With the help of his maid, the long-suffering Bertha, Bernard has somehow managed to keep all three women blissfully unaware of the others’ existence. However, the arrival of an old friend from the provinces and the launch of a new super-fast jet propel Bernard’s carefully constructed plans into comic chaos. Marc Camoletti’s award-winning farce was a West End and Broadway hit and has delighted audiences worldwide for over 50 years.

Marc Camoletti (16 November 1923 – 18 July 2003) was a French playwright. His credits include Boeing Boeing, Don’t Dress for Dinner and Happy Birthday. Camoletti was awarded the Chevalier de la Légion d’Honneur, one of France’s highest honours. 

Nathalie Barclay plays Gabriella. Theatre credits include: Fools Rush In (Soho Theatre/NFTS), Here I Belong (Theatre By The Lake & UK tour, Pentabus Theatre), Primary Playmaker (Oxford Playhouse), Antigone (The Lowry & UK tour), Positive (Park Theatre), The Class Ceiling (Southwark Playhouse), The Boy Who Never Learned To Fly (Arcola Theatre), Dog’s Bite (Soho Theatre/Goldsmiths), You Once Said Yes (Nuffield Theatre, Southampton), Sad Play (New Diorama Theatre), Girl on Girl (Kings Head Theatre), Much Ado About Nothing (New Wimbledon Theatre Studio) and Macbeth (Lion and Unicorn Theatre). TV and film includes: Killing Eve, Trigonometry, Old Man, Con Man, One Day at a Time, 50 Kisses, Duplicity, Twenty Nothing, Hungry Angel and New Year’s Resolution.

Jo Castleton plays Bertha. Theatre credits include: Vincent River (Bridge Theatre, Brussels), War Horse (National Theatre), The Curious Incident of the Dog in the Night-Time (National Theatre), Dangerous Corner (Nottingham Playhouse), Round and Round the Garden, Table Manners, A Murder is Announced, Deathtrap, Murder Weapon, Suddenly at Home (Eastbourne Theatres &tour), Shock (Nottingham Theatre Royal), Twist of Gold (Polka), Lilies on the Land (National Tour), Beauty and the Beast, Oh! What a Lovely War, The Lion, the Witch and the Wardrobe, The Wind in the Willows, The Wizard of Oz, A Christmas Carol (Haymarket Basingstoke), Elephant 21 (Royal Court), Family Man (Theatre Royal Stratford East), Cat on a Hot Tin Roof, Ghost Train, Sailor Beware and Daisy Pulls It Off (UK Tour), The Magic Flute, The Mystery Plays, Oliver Twist, Shakers (Liverpool Playhouse). TV and film credits include: Suspicion and Birth of Daniel F Harris.

Isabel Della-Porta plays Gloria. Theatre credits include: Eigengrau (Waterloo East Theatre), Chutney (Bunker Theatre), Network (National Theatre), Put Out the Lights (The Red Rose Chain), Mary Stuart (Almeida Theatre). Film credits include: The Lost Daughter.

Jessica Dennis plays Gretchen. Theatre credits include: Jack and the Beanstalk (Stephen Joseph Theatre), Twelfth Night, Romeo and Juliet (Orange Tree Theatre), The Habit of Art (Original Theatre), Henry V, The Tempest (Shakespeare’s Rose Theatre), Offside (Futures Theatre), Macbeth, Frankenstein, A Christmas Carol (Box Clever), Property of Polka, The Wind in the Willows (Polka Theatre), Meet Me in the Ruins (Belgrade Theatre), Redder than Roses, The Woman on the Bridge (Buxton Festival), Million Dollar Quartet (Jamshed Bhabha Theatre, Mumbai) and The Deranged Marriage (Rifco Arts).

John Dorney plays Bernard. Theatre credits for London Classic Theatre include: Absurd Person Singular, Hysteria, Absent Friends, The Caretaker, Humble Boy. Other theatre includes: Flight and Peter Pan (National Theatre), Something Beginning With…(The Orange Tree Theatre), Feelgood (English Speaking Theatre of Vienna & English Speaking Theatre of Frankfurt), Better Watch Out (Hampstead Theatre), At the Back and Out of Focus (Soho Theatre), Volpone (Wilton’s Music Hall), The Revenger’s Tragedy and The Stranger (Southwark Playhouse), A-Team: The Musical (Gilded Balloon, Edinburgh), Coalition (Pleasance Edinburgh and Islington), Beauty and the Beast (Creation, Oxford), On the High Road (RADA Studios) and Seasons Greetings (Union Theatre).

Paul Sandys plays Robert. Theatre credits for London Classic Theatre include: Absurd Person Singular, Private Lives, Entertaining Mr Sloane, The Importance of Being Earnest. Other theatre includes: Dr Longitude’s Marvellous Imaginary Menagerie (Les Enfants Terribles), Peter Pan (New Vic Theatre), Out of the Sun (The New Actors Company), Friend or Foe (Scamp Theatre). TV and Film includes: The Sprint King and Apple Tree House.

Michael Cabot directs and is the founder and Artistic Director of London Classic Theatre. He has directed all forty-three LCT productions since their touring debut in 2000, including Same Time, Next Year, Absurd Person Singular, No Man’s Land, My Mother Said I Never Should, Private Lives, Hysteria, The Birthday Party, Waiting for Godot, Absent Friends, Entertaining Mr Sloane and Equus.  His freelance work as director includes three recent collaborations with award-winning playwright Henry Naylor, The Collector (Arcola Theatre/UK tour), Angel and Borders (Edinburgh Festival Fringe).

BOEING BOEING

LISTINGS

Lighthouse, Poole

19 -21 May

Box Office: www.lighthousepoole.co.uk/ 01202 280000

Theatr Clwyd

24 – 28 May

Box Office: www.theatrclwyd.com/ 01352 344101

Theatre Royal Bath

1 – 4 June

Box Office: www.theatreroyal.org.uk /01225 448844

Devonshire Park Theatre, Eastbourne

7 – 11 June

Box Office: www.eastbournetheatres.co.uk/venue/devonshire-park-theatre/ / 01323 412000

Theatre Royal, Bury St Edmunds

14 – 18 June

Box Office: www.theatreroyal.org/ 01284 769505

Derby Theatre

21 – 25 June

Box Office: www.derbytheatre.co.uk / 01332 593939

Yvonne Arnaud Theatre Guilford

28 June – 2 July

Box Office: www.yvonne-arnaud.co.uk/ 01483 440000

Malvern Theatres

5 – 9 July

Box Office: www.malvern-theatres.co.uk/ 01684 892277

Cambridge Arts Theatre

12 – 16 July

Box Office: https://www.cambridgeartstheatre.com/ 01223 503333

Theatre Royal Winchester

19 – 23 July

Box Office: www.theatreroyalwinchester.co.uk / 01962 840440

Darlington Hippodrome

26 – 30 July

Box Office: https://www.darlingtonhippodrome.co.uk/  01325 405405

Principal Dancer Ashley Dixon to become Principal Character Artist and Assistant Rehearsal Director at Northern Ballet

Ashley Dixon will be stepping down from his role as Principal Dancer at Northern Ballet to take up a new position of Principal Character Artist and Assistant Rehearsal Director with the Company. His final performance will be on Saturday 23 April as Jay Gatsby in David Nixon OBE’s award winning The Great Gatsby, opposite ex-Premier Dancer Antoinette Brooks-Daw as Daisy Buchanan who will be returning to the stage for the occasion.  

The new role of Principal Character Artist and Assistant Rehearsal Director has been created by outgoing Artistic Director David Nixon OBE. It will support all aspects of Northern Ballet’s productions and will work closely with the Company’s newly appointed Artistic Director Federico Bonelli who takes up his position in early May. 

During his time at Northern Ballet, Hull born Ashley has played many leading roles including Peter (Peter Pan), Mercutio (Romeo & Juliet), Oberon and Demetrius (A Midsummer Night’s Dream), Heathcliff and Young Heathcliff (Wuthering Heights), Harker (Dracula), Hamlet (Hamlet) and Mark Antony (Cleopatra). He has danced opposite his wife, First Soloist Rachel Gillespie in many productions including The Nutcracker and A Midsummer Night’s Dream.  

To showcase Ashley’s talent for dark and gritty characters, David Nixon created the character of ‘Beast’ for him in his production of Beauty and the Beast, which received glowing reviews from critics and has since become an audience favourite

Ashley said: 

‘It’s been a really difficult decision to make the transition from dancer to ballet staff and it is one that has been in the works for some time. I’ve loved every moment of my career as a dancer but you reach a point where your body tells you to slow down and you have to listen. I’m delighted with this new role which will allow me to utilise the skills and knowledge I have gained throughout my career and impart them on the next generation of dancers, as well as continue to feed my passion for the art form. I’m excited to take on a new part in the creative process and support the Company in its mission to bring narrative ballet to audiences across the UK and beyond.’ 

David Nixon said:

‘Ashley has had a distinguished career at Northern Ballet and is one of those dancers whose talent and abilities were always suited to the Company. Ashley has danced an enormous amount of the repertoire and the creation of the Beast in Beauty and the Beast was a most memorable and rewarding experience for me as both Choreographer and Director. Ashley has always been an exceptional member of the Company, fully engaging in the ethos and cultural environment, his work has been and continues to be an example to all of the incoming members.  

Ashley’s intelligence and personal skills, and his understanding of my work have extended his value beyond the studio and in particular his work with staging and rehearsing my repertoire. I have always had a special place and appreciation for Ashley and I think he can do a wonderful job both as Character Artist on stage and in the studio as a Rehearsal Director. I wish him all the very best.’ 

See Ashley’s final performance in David Nixon’s The Great Gatsby at Edinburgh Festival Theatre on Saturday 23 April. For tickets visit northernballet.com/gatsby 

Hull New Theatre – until 26th March 2022

Reviewed by Catherine McWilliams

4****

Hessle Theatre Company celebrated its centenary in style with a sparkling production of Shrek The Musical at Hull New Theatre. From start to finish this is a show to delight all ages and it was lovely to see so many families at the Theatre.

With book and lyrics by David-Lindsay Abaire and music by Jeanine Tesori, Shrek The Musical is based on the Dreamworks Animation Motion Picture and the book by William Steig. Hessle Theatre Company’s production is directed and choreographed by Martin Beaumont with musical direction by Sarah-Lucy Penny.

Shrek The Musical tells the story of an unlikely hero Shrek (Russell Fallon), an ogre who is living happily in his swamp until one day all the fairy tale characters arrive having been thrown out of Duloc by the evil Lord Farquaad (Joe Porte). Shrek sets off to demand that Lord Farquaad gives him his swamp back, meeting a talking Donkey (Harry Owen) on his way to Duloc. Lord Farquaad is desperate to meet and marry a princess and promises Shrek he can have his swamp if he rescues Princess Fiona (Sarah Brodie) from her tower and the dragon that guards her. With the ultimate happy ending but a twist to all those stories of princes rescuing their princess, Shrek The Musical is full of humour and fun.

Russell Fallon’s Shrek is superb, totally deadpan throughout with some classic throw away lines, and physically capturing the lumbering gait of an ogre. Yet he portrays Shrek with great sensitivity and tenderness as he falls in love with Princess Fiona and his rendition of “When Words Fail Me” was beautiful, he has a powerful voice and my word he can hit those notes!

I cannot have been the only one in the theatre who fell in love with Harry Owen’s Donkey, he presented us with an irritating, over- enthusiastic, and totally unputdownable Donkey with a zest for life. It was an utter joy to watch and listen to and the sheer physicality of his performance was outstanding. The double act between Shrek and Donkey was superb, their timing was excellent and they provided a great deal of the humour.

Sarah Brodie played Princess Fiona with just the right amount of feistiness and attitude, a princess not to be messed with! Her face is wonderfully mobile and all Princess Fiona’s emotions were clearly shown. She has a beautiful voice and this performance was wonderful.

Joe Porte created a Lord Farquaad with an arrogance and air of vanity that befits such a catch! From the minute he first appeared on stage he was a delight, with laughs galore to be had at his behaviour.

A big shout out must go to the puppeteers who manipulated the most incredible dragon with its eyelashes fluttering and glittering eyes. I was astonished to read in the programme that the first time they had handled this enormous dragon puppet was just before the dress rehearsal. The dragon is voiced by Georgina Garton and what a magnificent soaring voice she has, full of fierceness. The little boy seated just down from me was clearly enthralled as he booed loudly every time the dragon appeared and was shouting “No, No” as it chased Donkey.

A production such as this requires a large supporting cast and what a talented bunch they are. Harmonies and choreography were tight and slick throughout, a particular highlight for me was Princess Fiona tap dancing with the rats.

The band under the direction of Sarah-Lucy Penny provided an excellent accompaniment to the production.

Shrek The Musical was originally due to be staged in 2020 but due to covid had to be cancelled four weeks before curtain-up. It was certainly well worth the wait to see this production, Shrek The Musical is full of vitality, laughs, and is an utter delight with something for everyone. This cast is superb and has real joie de vivre which shines out from the stage. A treat for all the family.

Congratulations on your centenary Hessle Theatre Company and here’s to your next 100 years!

New Wimbledon Theatre – until 26^th March 2022

Reviewed by Carly Burlinge  

5***** 

When Dewey (Jake Sharp) hits hard times gets thrown out of his rock band and is having cash issues with rent due and people on his back he sees no way out! Then a call arrives for his flatmate Ned (Matthew Rowland) Regarding a position at a High Regarded School looking for a substitute teacher. Before he knows its Hes posing as a fake music teacher at a very posh school whilst trying to keep his identity hidden from the very prim and proper uptight Head Mistress Miss Mullins (Rebecca Lock).  He begins to bring the children out of their shells by teaching them and introducing them to the rock gods of our time. How to make music and how to rock out in the best possible way, seeing as many of the children feel they don’t have a voice it’s the most perfect way for them to express themselves. This only transforming them into one amazing rock band that he wants to take all the way to the Battle of the Bands. 

Jake Sharp as Dewey played his part exceptionally well with such enthusiasm to music. Acting not quite the adult and very childish and cheeky at times. He showed great energy on the stage and went ballistic with his guitar jumping around generally showing us how to rock out! I enjoyed everything about this dude from his actions to his voice just an impressive first-rate performance that had the audience laughing throughout the whole show as well as being very amused and entertained. 

Rebecca Lock as Rosalie Mullins played a very impressive, spectacular pristine and sternly equipped Headteacher. Her performance of Where did the Rock Go was just outstanding to watch, she gripped the audience with her powerful electrifying voice. what a fabulous song that was well accomplished.  

As for the children well, it wouldn’t have been such a spectacular performance without them. The amount of talent that I witnessed in one sitting was just magnificent and marvellous. Amazing Grace performed by Tomika ( Souparnika Nair) just blew me away, with her strong voice at such a young age. Then their rock moves are definitely to be mentioned. I’ve never seen so many children strutting out such fabulous moves, including some fab outfits, bright swinging head banging colourful hair. Followed by exceptional faces they definitely showed you exactly how to Rock on out and have as much fun as possible! Talent was at a definite high. 

This production was just awesome from start to finish.  I can honestly say I was sad to see it end. I definitely was smiling, clapping and joining in through the whole performance such a feel-good show with so much to offer that really shouldn’t be missed. 

Yvonne Arnaud, Guildford- until 26 March 2022

Reviewed by Antonia Hebbert

5*****

One witty, pithy line after another, delivered with perfect timing and precision. Noel Coward was barely 30 when he wrote and performed in Private Lives, his brilliant, perceptive comedy about a fiery couple who have divorced but meet again, on honeymoons with new partners. It’s the one with lines that you’ve heard (‘Very flat, Norfolk’), and many more lines you’d like to remember. Nigel Havers and Patricia Hodge play the leads Elyot and Amanda. They are considerably older than 30, but they are so good that it really doesn’t matter. They even riff a bit on ageing, with a suggestion at one point of creaky bones. Every line is relished and delivered in pitch-perfect style, as they rediscover their sizzling attraction to each other. As Coward put it, ‘I am terribly anxious to keep the performance on such a level, that however lightly we may be playing, we can always switch to complete seriousness’. This production achieves that, with laugh-aloud moments that turn to emotional intensity, with the help of beguiling music and dancing. (As Amanda says in another quotable line, ‘Strange how potent cheap music is’.)

Coward also wrote ‘I’m all for being really abandoned in the love scenes’ and this 1930 play certainly puts paid to the idea that everything before the 1960s was buttoned up and prudish. Elyot and Amanda’s erotic charge and wit is contrasted with the respectable flatness of their new partners Sybil and Victor (Natalie Walter and Dugald Bruce-Lockhart, rising manfully to the challenge of being a bit dim and boring).

The set for the first act is the twin balconies of a French seaside hotel, all very bright and pretty. The curtain rises after the interval to reveal something totally different – the very fine deep red interior of Amanda’s Paris apartment. Not a very subtle metaphor maybe, but impressive. Nice 1930s outfits too. The designer is Simon Higlett. Christopher Luscombe directs.

Regent Theatre, Stoke – until Saturday 26th March 2022

Reviewed by Lesley Eagles

4****

Being one of the first films I saw as a teenager this production brought all the nostalgia and memories back from the 80”s with it. The obvious opening track of “Footloose” itself followed by the familiarity of other hit songs such as “Lets hear it for the boy” and “Holding out for a hero“ made for a night of fun and excitement.

Based on the 1980’s film, Footloose tells the story of teenager Ren McCormack, played by Joshua Hawkins who moves from the big city to the small town of Bomont where he discovers that both rock music and dancing are banned. As a result this fires up Ren’s rebellious spirit who becomes determined to make changes.

While attending church, Ren meets local minister Shaw Moore (Darren Day), his wife Vi (Holly Ashton) and daughter Ariel (Lucy Munden). It isn’t long before Ren sees Ariel’s defiance of her father’s authority and begins to fall for her, showing her the joy and freedom that dance can bring. Lucy Mundens professional debut as Ariel was superb showing off her faultless vocals beautifully.

Joshua Hawkin’s performance as Ren was both energetic and engaging as he buddied up with Willard Hewitt (Jake Quickenden). Willard is embarrassed at his inability to dance, therefore an amusing performance sees Ren trying to teach him to do so and help win the heart of Rusty (Oonagh Cox)

As you can imagine a combination of both Jake Quickenden’s comic facial expressions and cumbersome character made this highly entertaining.

However one of the most memorable highlights of the show was when the very likeable Quickenden’s performance resulted in him removing his dungarees to reveal some very sparkly gold hot pants… much to everyone’s delight!

Ren went on to challenge the right to change restrictions, which would allow them to dance and listen to their choice of music freely. He cleverly does this by quoting bible scriptures to convince the minister that it’s the right thing to do. Although Shaw and the council vote against Ren’s proposal, Vi convinces her husband to hear Ren out and be the father that he once was to Ariel. Fabulous vocals from both Darren Day as the minister Shaw, and his wife Vi played by Holly Ashton shared a lovely tender scene dancing together for the first time in years when Shaw finally concedes and allows the dance to go ahead.

The performers not only bought the acting and vocals but also played multiple instruments too. Quite how they did it I’m not quite sure with the energy that was required for the dancing alone. However they did so brilliantly showing off their musicality to perfection.

By the end of the show, much like the town of Bomont, everyone in the audience were on their feet singing and dancing to the old movie classics

Festival Theatre, Malvern – until 26th March 2022

Reviewed by Courie Amado Juneau

5*****

Catch Me If You Can was written in 1965 by Jack Weinstock and Willie Gilbert, based on a French play by Robert Thomas. The plot involves a man, Daniel Corban, on his honeymoon, who reports his wife missing. He calls in the local police Inspector who begins to investigate. Soon after, a woman turns up claiming to be his wife, but he immediately refutes this claim…

That Patrick Duffy managed to inhabit the character of Corban so completely is a testament to his acting prowess and a lifetime creating a body of exceptional work on shows such as Dallas (which, of course, had every scenario in the book over the years). I confess I did momentarily (and giddily) think “Good Heavens, it’s Bobby Ewing!” before being totally immersed in the action in front of me (I mention that as a deserved compliment). Duffy delighted with his rich palette of acting chops throughout, entertaining us with an impressive range of emotions. Anyone lucky enough to have caught Duffy’s classic series Step By Step will not be surprised by his command of comedy, which is also well represented here. In short, a fantastic, nay masterful, performance and a thrill to see this legend in action close up!

Linda Purl (playing Elizabeth Corban) gave a richly nuanced performance which turned on a sixpence, depending on who she was on stage with. It looked like a lot of fun as she relished this femme fatale, displaying a gusto that was infectious.

Inspector Levine (Gray O’Brien), like our two leads, gave an exceptional, flawless, performance. His interplay with Duffy and Purl was a joy to behold. Ben Nealon (playing Father Kelleher) rounds out the stellar cast that is as strong individually as it is in ensemble! His face may not grace the advertising poster but this role is almost as important as the three principle leads and equally majestically executed.

A special mention goes to distinguished veteran actor Hugh Futcher, bringing Sidney (the coffee shop owner) wonderfully to life. A hilarious display that, sadly, graced the stage for too few scenes! But every moment brought limitless pleasure.

The lodge set is rather sumptuous as are the period clothes, both transporting us to that most stylish of decades! The ladies especially benefit from this gorgeous era’s wardrobe!

The script kept us guessing throughout with an almost maze like convolution to the plot. Right till the very end I wasn’t sure what was true or false or why. It’s no surprise to learn that one of the original screenwriter’s worked on Scooby Doo! The final twist in the tale packs a punch that Agatha Christie would have been proud of!

Brilliantly written, exceptionally acted, a cast to thrill and delight all wrapped up in a plot (and characters) that you can’t easily pin down. In short, absolutely everything you could possibly want for a perfect night out! A very richly deserved 5 stars from all concerned and an unreserved recommendation to Catch it If You Can!