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Hope Mill Theatre’s UK theatrical premiere of the Broadway musical version of Rodgers + Hammerstein’s Cinderella set to go ahead this November

Tuesday 1^st November – Sunday 11^th December 2022

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Cinderella will finally go to the ball! Hope Mill Theatre in Manchester is to stage the UK theatrical premiere of the Broadway musical version of Rodgers + Hammerstein’s Cinderella.

The musical’s previously postponed 2020 run will be staged later this year at Hope Mill Theatre, from  Tuesday 1^st November until Sunday 11^th December.

Leading the creative team for this new production are venue founders Joseph Houston (he/him) and William Whelton (he/him), with Houston directing and Whelton co-directing and choreographing.

Completing the creative team is Musical Supervisor Leo Munby (he/him), Musical Director Audra Cramer (she/her), featuring New Musical Arrangements by Jason Carr (he/him), Set and Costume Designer Elly Wdowski (she/her), Projection Designer George Reeve (he/him), Lighting Designer Aaron J Dootson (he/him), Wig Designer Richard Mawbey (he/him), Casting by Jane Deitch (she/her) and Artwork by Steph Pyne (sher/her).

Cinderella is the only musical written for the television by legendary duo Richard Rodgers and Oscar Hammerstein II (South Pacific, Carousel, The Sound of Music). Originally broadcast live in 1957 starring Julie Andrews, the broadcast was watched by more than 100 million people, before subsequently being remade for TV again in 1965 and 1997 (starring Whitney Houston and Brandy).

A new Broadway version with a Tony-nominated book by Douglas Carter Beane premiered in 2013 featuring several fresh characters and songs. This will be the first time a fully staged version of the show has been performed in the UK (following a 2019 one-night concert version in London).

The smart and beautiful young Ella lives in the care of her wicked, self-absorbed stepmother Madame and her two stepsisters Charlotte and Gabrielle. In another part of the kingdom, Prince Topher is trying to find himself and learn his place in the world. When his scheming advisor Sebastian suggests throwing a ball so the Prince can meet potential brides, Ella and Topher’s different worlds come together. Expect the unexpected in this clever retelling of the beloved fairy tale.

Full Casting as well as wider production team to be announced.

Back in 2020 Hope Mill launched First Curtain, a ticket initiative set up to provide funded tickets for local young people to have their first theatre experience. The ticket scheme, which was launched alongside the announcement of Cinderella, raised almost £5,000 and allowed 8 local schools and over 100 young people to come and watch their production of The Wiz in 2021. They aim to raise the same amount again, or more, to offer the same access to this production of Rodgers + Hammerstein’s Cinderella.

Bill Gaden, President of Concord Theatricals, said: “We’re delighted that Rodgers + Hammerstein’s Cinderella will make its UK theatrical premiere at the Hope Mill Theatre. The modern Broadway adaptation of the classic musical features new characters, a hilarious libretto, surprising twists, and an unforgettable score from Rodgers & Hammerstein. Originally presented on television in 1957 starring Julie Andrews to a viewership of 107 million, the largest in history at the time, the title has been charming audiences ever since. We look forward to Manchester theatregoers experiencing the updated incarnation today.”

Joseph Houston, Artistic Director, said: “It was devastating having to make the decision to cancel our production of Rodgers + Hammerstein’s Cinderella in 2020, due to the outbreak of Covid. The incredible creative team we have assembled, worked so hard to create a stunning and truly exciting new version of this beloved musical, from wonderful new orchestrations to beautiful set design, and we are thrilled that we are able to finally bring this show to life at Hope Mill Theatre later this year. We can’t wait to welcome audiences of all ages through our doors, to enjoy this truly magical musical, proving that nothing is Impossible!”

LISTINGS

Hope Mill Theatre’s production of

Rodgers + Hammerstein’s Cinderella

Hope Mill Theatre, Pollard Street, Manchester

Tuesday 1^st November until Sunday 11^th December

To book visit: www.hopemilltheatre.co.uk

Production Credits:

Directed by Joseph Houston 

Co-Director & Choreographer William Whelton 

Produced by Hope Mill Theatre 

Casting by Jane Deitch

Musical Supervisor Leo Munby

Musical Director Audra Cramer 

New Arrangements by Jason Carr

Set and Costume Designer Ellie Wdowski 

Wig Design by Richard Mawbey

Lighting design by Aaron J Dootson 

Projection Designer George Reeve

Artwork Steph Pyne 

Music by Richard Rodgers

Lyrics by Oscar Hammerstein II

New Book by Douglas Carter Beane      

Original Book by Oscar Hammerstein II    

Presented by arrangement with Concord Theatricals Ltd. on behalf of R&H Theatricals

Greenwich Theatre – Saturday 5th March 2022

Reviewed by Aisa Nerva-Culley

4****

Setting the stage with an eerie atmosphere, the wooden set sticking out in a menacing way gave an intriguing insight to what was to come. Starting with a powerful scream into the dark the show began captivating the audience from the get go. 

The use of live sound and music played by the cast absorbed the audience into a world of horror. The cast took on multiple roles making the troop of five feel like twenty. Most notably was Max Gallagher whose main part was Henry Clerval but gave all other parts he played such individual character which was a joy to watch. 

The use of puppetry was fantastic and really gave the story a depth that made you want to see more. Though at times scenes where slightly drawn out, the cast brought back focus to the plot smoothly. Overall a very enjoyable adaptation of Mary Shelley’s  Frankenstein. 

READ ALL ABOUT IT!

NEWSIES, THE AWARD-WINNING BROADWAY MUSICAL

TO HAVE UK PREMIERE

IN A NEW REIMAGINED PRODUCTION PERFORMED IN THE ROUND

AT LONDON’S TROUBADOUR WEMBLEY PARK THEATRE

STRICTLY LIMITED SEASON FROM 28 NOVEMBER 2022

Producer Runaway Entertainment is delighted to announce that Disney’s NEWSIES, the award-winning Broadway musical with music by Alan Menken, lyrics by Jack Feldman and book by Harvey Fierstein, will have its UK premiere at London’s Troubadour Wembley Park Theatre, where the strictly limited season will run from 28 November 2022.

Based on a true story, NEWSIES is set in New York City at the turn of the 19th century. It’s the rousing tale of a ragged band of teenage newspaper sellers, who dream of a better life far from the hardship of the streets. After newspaper magnate Joseph Pulitzer hikes up the prices for his papers charged to the newsies, Jack Kelly rallies his fellow newsboys in an attempt to protest the change, falling in love with young reporter Katherine along the way. These young newsies from across the city come together and rise up against the exploitation of wealthy publishing tycoons and fight for justice using the only power they have – solidarity. 

The original production of NEWSIES opened on Broadway in 2012 and was slated to play only 100 performances but went on to play over 1,000 performances before touring and winning two Tony Awards®, including Best Original Score. The original production was filmed live on stage and released in cinemas in 2017.

Now for the very first time, audiences in the UK have a chance to enjoy the thrill of one of the biggest Broadway hits of recent years. In an innovative and brand new immersive production ‘in the round’ at Troubadour Wembley Park Theatre, theatregoers will be thrust right inside the action as the newsies dance, sing, jump and fly around the streets of a booming 19^th century New York City. 

Alan Menken said: “I am OVER THE MOON about Newsies opening in London!! I’ve been wishing and waiting for this for soooo long.  I truly cannot wait!”

Matt Cole, Director & Choreographer, said: “As a huge fan of the original Disney film and the Broadway production, I am extremely honoured and thrilled to be reimagining this brand new version for London and the UK. With an incredible score by the legendary Alan Menken and book by Harvey Fierstein we will bring this all-singing, all-dancing show to Troubadour Wembley Park Theatre. This site-specific version of the show provides an exciting opportunity to present the piece in a non-traditional format. Set in the round, the audience will be thrust into turn-of-the-century New York, where the action and choreography will weave its way in and out of the audience. I cannot wait to work with this talented creative team on delivering this wonderful and exciting show to the UK.” 

This new production of NEWSIES will be following on the recent successes of large scale shows at Troubadour Wembley Park Theatre such as the National Theatre’s productions of War Horse and The Curious Incident of the Dog in the Night-Time.

Oliver Royds, CEO of Troubadour Theatres, said: “We are thrilled to be hosting the UK Premiere of Disney’s much loved musical in Wembley and look forward to showing audiences just how versatile and flexible our venues are. We are sure this will be one of the theatrical events of the year.“

Casting is to be announced.

Tickets will be going on sale in May 2022. To receive priority booking sign up at www.newsiesthemusical.co.uk

NEWSIES will be Directed and Choreographed by Olivier nominee Matt Cole, with Set Design by Morgan Large, Musical Supervision, Dance Arrangements & Musical Direction by Nigel Lilley, Costumes by Natalie Pryce, Lighting by Mark Henderson, Sound by Tony Gayle, Performer Flying by John Maddox for Suspended Illusions Ltd, Casting by Lucy Casson, Children’s Casting by Jo Hawes, Fight Directors Rachel Bown-Williams & Ruth Cooper-Brown for RC Annie, Associate Choreographer Jane McMurtrie, Associate Musical Director Chris Ma and Production Management by Lee Batty and Andy Fox for Setting Line.

NEWSIES is produced by Tristan Baker & Charlie Parsons for Runaway Entertainment with Kater Gordon and Dianne Roberts, by permission of Disney Theatrical Productions.

Website: newsiesthemusical.co.uk

Instagram: @newsies_uk

Facebook: @newsiesuk

Twitter: @newsies_uk

LISTINGS

Disney’s NEWSIES

Strictly Limited Season from 28 November 2022

Troubadour Wembley Park Theatre

3 Fulton Rd

Wembley Park

London HA9 0SP

JGH Academy Press Release

Canterbury’s JGH Academy of Theatre Arts are thrilled to present their first season of live performances from their 2022 cohort featuring a mixture of continuing and graduating students. The Academy will present SHOUT! the Mod Musical and their 2022 Musical Theatre Showcase at Canterbury’s stunning Malthouse Theatre, from 30 March – 1 April.

JGH Academy opened its doors in Canterbury last September (2021) to provide exceptional full-time vocational training in musical theatre performance in Kent, led by theatre producers Joseph Hodges and Jay Gardner and an incomparable faculty of performing arts professionals and boasts a whopping 45 hours of practical training per week!

From September 2022 they have three courses on offer for students aged 16+, a One-Year Intensive Course, a Two-Year Sixth Form Course (accompanied by a level 3 extended diploma) and a Three-Year Diploma Course (accompanied by a Level 6 Diploma.

Their patrons are Strictly Come Dancing Winner, Joanne Clifton, and Olivier Award-Winning Actress, Jenna Russell, both of whom have scholarships named after them. Layton Williams, who is a friend of the academy, also has a full scholarship named after him which is still available to one lucky male identifying student for September 2022 admission. All scholarships are awarded via their free application / audition process which can be found on their website, www.jghacademy.co.uk/apply.

Tickets for SHOUT! and their Musical Theatre Showcase are available via the Malthouse Theatre website, www.malthousetheatre.co.uk. Industry tickets can be booked by emailing [email protected].

You can find JGH Academy on Twitter, Instagram and Facebook at @JGHCanterbury.

Festival Theatre, Malvern – Sunday 6th March

Reviewed by Courie Amado Juneau

5*****

Ellen Kent operas are known for their outstanding productions and tonight’s Madama Butterfly is no exception. It was way beyond superb!

Set in 1904 in Nagasaki, an American naval officer enters into a marriage of convenience with a young Japanese girl. He intends to divorce her when he finds an American wife and shortly after sails off on his naval ship…. She, meanwhile, devotes herself entirely to her new husband in the expectation of a new American life, waiting dutifuly for his return. Because of this she is disowned by her Japanese friends and family.

Both the principles (Elena Dee as Butterfly and Vitalii Liskovetskyi as Pinkerton) had gorgeous tone and strong projection, conveying the libretto with impactful assurance. They particularly shone together during their scenes at the end of act one, in anticipation of the wedding night with all it’s attendant hopes and fears. A lushly romantic piece of writing from Puccini. In fact his entire score has a lovely languid sensuality.

Dee has an effortless mastery of sustain and quiet notes and her anguished outpourings (those massive high notes that Italian opera is famous for) were spine tingling. The aria “One Fine Day” was especially moving. A masterful performance.

All the cast were fantastic but special mention should go to mezzo soprano Katerina Timbaliuk (playing Butterfly’s maid, Suzuki) whose acting, tone and vocal power were especially thrilling. She and Dee have a wonderful onstage presence and were utterly convincing in their roles. Their acting in the final scene was incredible, producing heartbreakingly sensitive performances from both!

The set was a sumptuous Japanese garden complete with running water and a house which was particularly well employed with backlighting to display some key moments in silhouette, an effect that was highly effective. The female chorus made a beautiful, mellifluous sound that was very beguiling, especially seeing them resplendent in their antique wedding kimonos, which were a real treat for the eyes.

Opera isn’t just music of course; it’s musical drama. This is the Italian verismo style where the composers wished to convey the realism of the situation, with all its consequences, hurt and pain. Powerful stuff. There is none of the English G&S nicety where abandonment ends well, in a return of love and a happily ever after. The orchestra (conducted by Vasyl Vasylenko) sounded rich and full, equally impressive in the subtle, romantic sections as the more strident harrowing ones, transporting us faithfully to the inner turmoil of the characters, through their sonorous playing.

Those few who were not already on their feet for a standing ovation were up when the Ukrainian flag came out and the cast sang the Ukrainian National anthem, complete with messages of support for the people of Ukraine on the surtitle screens! I don’t think I’ve ever been so moved during a night out.

A highly charged, emotional performance that deserved double the 5 stars I have to give it! I cannot wait to see their next production at this fine theatre.

RSC ACTIVITIES ON SHAKESPEARE’S BIRTHDAY WEEKEND, 23-24 APRIL

The Royal Shakespeare Company is offering visitors to Stratford-upon-Avon a wide range of activities to help celebrate Shakespeare’s Birthday over the weekend of Saturday 23 and Sunday 24 April.

Free events include a performance of Out of the Deep Blue, a family friendly outdoor show about the environment featuring a 13-foot-tall puppet, and the opportunity to enjoy the RSC’s new Dell Forest Garden, a space for reflection which also aims to improve the area’s biodiversity.

There will also be the chance to see the final two parts of the Henry VI trilogy, Henry VI: Rebellion (1.15pm) and Wars of the Roses (7.15pm) on Saturday 23 April, and to be part of the live audience for an edition of the popular podcast, The Guilty Feminist, at 7.30pm on Sunday 24 April. All three performances will take place in the Royal Shakespeare Theatre.

Prior to the birthday weekend, on 21 April, a newly revised second edition of The Complete Works of Shakespeare will be published, the perfect gift for all Shakespeare lovers.

SATURDAY 23 APRIL

Out of the Deep Blue performedby Autin Dance Theatre
3.30pm, starts in the Swan Gardens outside The Swan Theatre
Free, just turn up on the day

Autin Dance Theatre will perform Out of the Deep Blue, an outdoor spectacle ideal for children and families featuring Eko, a 13-foot-tall Sea Giant puppet, operated by five world-class puppeteers, and the character of Violet, played by a female contemporary dancer.

Waves wash Eko, a Sea Giant onto the shore. There he encounters vulnerable Violet. These two beings – an ancient creature and a young girl – offer us their stories: an impactful dialogue around our earth’s climate emergency, told through dance, movement and masterful puppeteering. A story about the power of understanding that speaks to the world at large.

The performance will start at 3.30pm in the Swan Gardens outside the RSC’s Swan Theatre, with the audience following Eko to The Dell gardens by Holy Trinity Church, before returning to the Swan Gardens for the final part of the show.

There will also be a free puppet workshop, suitable for ages 6+ between 12noon – 1.30pm taking place in the Swan Theatre foyer.

Tickets for the workshop are free but must be booked in advance at www.rsc.org.uk/events/shakespeares-birthday-celebrations

Pre-recorded Audio Description files are available for blind and visually impaired audiences to listen to, either prior to a performance and/or during the performance.

Audio notes (for listening to prior to the show): https://soundcloud.com/autindt/audio_notes_out_of_the_deep_blue

Full synchronised audio description (for streaming or download to listen to during the 4pm performance): https://soundcloud.com/autindt/full_audio_description_out_of_the_deep_blue

The Dell Forest Garden
Free, just turn up on the day

Throughout March and April the RSC and Forest of Hearts – a Stratford-based organisation which aims to produce ‘gardens for good’ – will work with members of the local community to create The Dell Forest Garden which will be open to all from Saturday 23 April.

The Dell, located by the Holy Trinity Church, is a quiet outdoor space which includes a number of memorial plaques.  The aim of the Forest Garden is to make an area for health and wellbeing activities, for personal reflection, and to increase biodiversity. In the lead up to 23 April, the community participants will plant a number of flower beds in both The Dell and Avonbank Gardens, including a section featuring flowers mentioned in Shakespeare’s plays.

Inspired by the memorials in The Dell, the RSC has commissioned artist Faye Claridge to create an outdoor art exhibition, Room for the Soul launching on 23 April.  Faye is working with volunteers from Forest of Hearts and local residents to create a magical outdoor lounge where plants and flowers overwhelm furniture, while lampshades and family portraits flutter in the trees overhead.

Forest of Hearts will lead free drop-in sessions between 12-3.30pm on 23 April in The Dell, sharing how everyone can increase biodiversity.  Participants involved in developing the Forest Garden will be on hand to talk about the experience and how people can take part in future projects.

Henry VI: Rebellion (1.15pm) and Wars of the Roses (7.15pm)
Royal Shakespeare Theatre
Tickets available from rsc.org.uk or 01789 331111

Henry VI: Rebellion, a fresh new take on Henry VI: Part Two, hurtles through one of the most turbulent periods in English history, asking the question: can the people ever really decide their own future?

Wars of the Roses is the thrilling climax to the Henry VI trilogy.  The tussle for the English crown escalates to the battlefield and the families of Lancaster and York drench their brutal conflict in sweat and blood. As power is shunted back and forth, there is deceit, betrayal and murder at every turn. The scene is set for the final chapter as we get our first glimpse of the villainous Duke of Gloucester – soon to become Richard III. 

Both productions are directed by Owen Horsley, and feature Mark Quartley and Minnie Gale as, respectively, Henry VI and Margaret.

Henry VI: Rebellion runs 1 April – 28 May, and Wars of the Roses runs 11 April – 3 June.

Henry VI Unwrapped: an onstage demonstration
10.15-11.15am
Tickets £5-£8 available from rsc.org.uk or 01789 331111
Suitable for ages 12+

There will also be an opportunity to find out more about the Henry VI productions from actors and members of the creative team as part of Henry VI Unwrapped.  This session will offer a peek into the rehearsal room, with the Assistant Director and members of the cast looking at moments from the play. They will give an insight into how a scene is taken off the page and onto the stage, and reveal the type of exercises and discussions that took place during rehearsals.

SUNDAY 24 APRIL

Show and Tell with AEG presents in association with United Talent Agency
The Guilty Feminist
Royal Shakespeare Theatre
Sunday 24 April, 7.30pm
Tickets from £12.50 available from rsc.org.uk or 01789 331111

Less of a podcast and more of a global phenomenon, The Guilty Feminist is part comedy, part deep-dive discussion and part activism. Hosted by Deborah Frances-White and featuring a different array of world class guests each night, together, they examine our noble goals as 21st century feminists – and our hypocrisies and insecurities that undermine those goals.

With over 95 million downloads in six years, this is the show that proves you don’t have to be perfect to be a force for meaningful change.

The Complete Works of William Shakespeare, Second Edition

A new edition of the RSC Complete Works of William Shakespeare will be published on 21 April 2022.  Developed in a partnership between the RSC and Bloomsbury Academic, this revised second edition combines exemplary textual scholarship with beautiful design. Curated by expert editors Sir Jonathan Bate and Professor Eric Rasmussen, the text in this collection is based on the iconic 1623 First Folio: the first and original Complete Works assembled by Shakespeare’s fellow actors, and the version of Shakespeare’s text preferred by many actors and directors today.

This edition presents Shakespeare’s plays as they were originally intended – as living theatre to be enjoyed and performed on stage. Along with new colour photographs from a vibrant range of RSC productions, and a foreword by RSC Artistic Director, Gregory Doran, a new Stage Notes feature documenting the staging choices in 100 RSC productions showcases the myriad ways in which Shakespeare’s plays can be brought to life.

The Complete Works of William Shakespeare will be available to buy in the RSC’s shop in the Royal Shakespeare Theatre and online from 21 April. It is available to pre-order now from shop.rsc.org.uk

Rose Theatre, Kingston – until 19th March 2022

Reviewed by Bobbi Fenton

5*****

‘Persuasion’, based on the novel of the same name by Jane Austen, is an absolute theatrical masterpiece. Adapted by Jeff James to combine 19th century literature with modern day music and clothing, this show takes two things that seem like polar opposites and smashes them together, creating a work of art.

The story focuses on Anne (Sasha Frost) as she decides to stay with her sister, Mary (Helen Cripps) and her husband Charles (Dorian Simpson) and son Samuel (Daniel Aiden Matembe) when her father is forced to move to Bath, and let out their house to make money. Helen Cripps is fantastic at portraying Mary as a stubborn, self-contradicting permanently angry wife, and Dorian Simpson perfectly contrasts with her character, as the more light-hearted, relaxed husband. Annes father (Emilio Doorgasingh) takes with him Anne’s other sister, Elizabeth (Matilda Bailes) who is absolutely desperate to find a husband, because she is almost thirty years of age and still not married. Matilda Bailes portrays this character in such a comical way that it is quite difficult to feel sad for her, especially with some of the comments made by other characters about her need to be married soon. Back in her hometown, Anne soon discovers that the family who are staying in the house includes somebody from her past, who she hasn’t seen in ten years. She discovers that Captain Wentworth (Fred Fergus) is back on land from his travels with the navy, and is still bitter about his history with Anne. By the end of the play, Anne has changed her view on marriage, as she realises in hindsight that she should have accepted a marriage proposal years beforehand.

The set is made up of a tall platform, which appears slightly catwalk-like, and is lit up with lights around the edge. This platform is in two halves, and the top half rotates at certain points during the play. This set works brilliantly with a lot of the scenes, such as each time Anne physically pushes somebody off the side because she doesn’t like what they are saying, symbolizing how her character is pushing them away. This also allows the more serious moments of the play to work really well.

This play is brilliant at representing how the issues from the 19th century, as shown in Austen’s works, are still relevant today, as the scenes all use the same language as the novels, but are set in modern settings, with modern music. It should not be missed by anybody.

Persuasion will play Alexandra Palace from 7th-30th April (https://www.alexandrapalace.com/whats-on/persuasion-2/) so there is no excuse not to see this

Royal & Derngate, Northampton – until 5 March 2022

Reviewed by Ely King

4****

If you’re looking for a night of light-hearted fun, this is the show for you.

For this performance, the cast were two people down, including puppeteer Aya Nakamura, so the performing actors were a crew of only five.

These five were Niall Ashdown, Ruth Bratt, Adam Courting, Janet Etuk and Josie Lawrence.

Advertised as ‘theatre as live as it gets’, I’d say this musical truly lives up to that claim.

As inferred, this musical is entirely improvised and lead by words and phrases given by you, the audience, meaning that there is an entirely new show every single night.

So why not go see it a few times?

The prompts given to the crowd were as follows:

– An area by your home that is meaningful to you

– A word that, when you say, makes you happy

– If you were writing a book, what would be the gripping first sentence?

The crowd didn’t disappoint and gave the answers ‘A Lake, because it has water, and is away from the hustle and bustle of life’ then ‘chocolate’ as the happy word, before ending on ‘the house is on fire, and this time it wasn’t my fault’.

After not even two minutes of contemplation, the crew were straight into it, with Josie Lawrence launching into a storyline featuring a lake that the rest of the cast were quick to join in with, grabbing props and adding harmonies as if they all had one shared thought.

Having seen The Showstoppers! On the West End, also featuring Ruth Bratt, I had a rough idea of what to expect from The Improbable Musical yet still, it undoubtedly impressed.

Improbable are icons in the improvised theatre scene and have captivated audiences across the world with their unrivalled improv skills.

With Ruth also being featured in other improv shows, it was no surprise that she was a standout actor in this performance, effortlessly flicking between age ranges and accents on a split second’s notice without any hesitation.

Though Ruth was the star of the show, every actor has their own merits and worked perfectly in tandem with each other. What any actor may have lacked in conventional vocal skills, they more than made up for in acting skills and comedic value.

It was particularly enjoyable to see performers add to the storyline and name characters in such a ridiculous manner to try and trip each other up. One instance including naming a child’s adult friend Andrew… if you know, you know. Some cast members almost broke character at that, but it just made it all the more fun.

The musicians in the company are also extremely talented, finding the perfect rhythm and timing to play along with the actors, never mind the fact they got pulled into storylines, some played as many as three instruments so had to choose which instrument was best too.

As quite a lot of their humour includes euphemisms or jabs at the news, it would definitely be recommended for over 13’s, as any younger might miss some of the jokes and wonder why all the adults are laughing. Though, if this isn’t a problem then go ahead!

From using teapots to represent ducks to using binbags to represent water, these performers are true geniuses and masters at thinking on the spot – we could all do with a bit of their imagination.

York Theatre Royal – until 4th March 2022

Reviewed by Aimee Liddington

5*****

Far Gone is one-man show, written and performed by John Rwothomack, who was nearly kidnapped from his home in Northern Uganda by Joseph Kony’s rebel group, the Lord’s Resistance Army. The 1980’s were a time of great trouble and turmoil in Uganda and through his abduction of hundreds of thousands of child soldiers and religious extremism, Joseph Kony managed to seize power in the northern region of Acholiland and still remains at large today.

From the minute the audience enters the studio, they are charmed by the innocence of a squeaky voiced boy called Okumu who asks them to come on a journey with him. Very quickly, the audience is also introduced to the character of the commander who requires them to answer when he speaks to them and throughout the play cues are given to which the audience must answer as a chorus. The entire experience is mesmerising– for 60 minutes you are with Okumu and you join him as you feel his joy and naivety turn to despair and desperation.

The immense talent of Rwothomack is a sight to behold – with a bare stage, minimal costume and only a handful of props, Rwothomack still manages to transport the audience to Okumu’s world and paints an imaginary set in thin air. Through the use of every muscle in his body he is able to change character in a matter of seconds and each portrayal is more believable than the last. The fight scenes are the most breath taking and special mention should also go to the director, Mojisola Elufowoju and the movement directors, Akeim Toussaint Buck and Lilac Yosiphon. Without their careful consideration of each snapshot of each scene, the picture would not have been so clear to the minds eye.

Lee Affen, the music and sound designer, should also be congratulated for his perfect use of sound to match Rwothomack’s movements. Particularly in the scene where the commander is loading a gun – there is no physical gun to be seen on stage but the magazine is loaded and the shots are fired with real credibility.

The subject matter of this play is undoubtedly heart wrenching but Rwothomack still manages to include humour and it really is true that he takes the audience on a journey with him. From start to finish you cannot help but be possessed by the story and performance. Far Gone is an educational, emotional and entertaining experience and I’d recommend it in a heartbeat.

I’d like to end with the following poignant quote from ‘The Night Wanderers: Uganda’s Children and the Lord’s Resistance Army’ by Wojciech Jagielski: “The youngest ones are best suited to it, like him, eight…nine years old, not more. They are already independent and strong enough to understand and do what they are told. And at the same time, they are still too young to tell the difference between good and evil.”

Rwothomack has written this play for the lost children of Joseph Kony’s regime and asks for anyone who is moved by the narrative to support the work of the Women’s Advocacy Network (WAN) who are committed to supporting the thousands of people affected by the unrest in northern Uganda.

The Leeds Playhouse – until 19th March 2022

Reviewed by Dawn Smallwood

5*****

The highly anticipated Leeds Playhouse production of Macbeth is staged at the Playhouse’s Quarry Theatre. Directed by Amy Leach, the Shakespeare tragedy explores the how power can be obtained at cost along with exploring the physical, mentally, emotional, and psychological impacts.

Hayley Grindle’s staging is unique where the use of space is the main emphasis. The staging does have a dark structural feel with the metal scaffolding with a retractable ramp where the narrative takes place centrally. The space is used innovatively and creatively where movements of the characters are maximised. The costumes are traditional however the production has a contemporary twist particularly with the simplified dialogues, though not compromising the integrity of the text.

Supernatural is one the main themes in Macbeth and the atmospheric stage presence connects to this particularly and the characters of the three witches, played by Charlotte Arrowsmith, Karina Jones and Ashleigh Wilder, add essence to this. The use of obscured and key lighting, particularly representing the murderous activities and the soundscapes are well used and add suspense to this tragedy’s plots.

The Leeds Playhouse has a proud record making their productions inclusively accessible. Macbeth is no exception as this production includes integrated audio description and aural storytelling which ensures inclusivity for all audience members particularly from the blind, visually impaired and deaf communities.

Excellent portrayals from the cast particularly the ones from Tachia Newell as Macbeth and Jessica Baglow as Lady Macbeth and performances from Arrowsmith and Adam Bassett who both are proactive in the BSL arts and theatre communities.

It is nice to see an almost full audience where many are returning to the theatre and reconnecting with it after the Pandemic. It is encouraging to see school groups in the audience whose studies of Macbeth are crucial for their English Literature knowledge and learning.

“What’s done cannot be undone” and what is done is an excellent and unmissable production and performance from both the cast and creative team. Everyone can draw something from Macbeth whether by text or stage.