Home

Ghostly Victorian fun with Gilbert & Sullivan’s RUDDIGORE

at Wilton’s Music Hall

Presented by Oracle Productions

14^th – 25^th March 2023

Surreal comedy meets genuinely spooky Victorian chiller in this unmissable production of Gilbert and Sullivan’s Ruddigore, or The Witch’s Curse, at Wilton’s Music Hall. 

Directed by Peter Benedict (Mapp & Lucia – The Musical and Terry Pratchett’s Guards! Guards!), expect all the familiar G&S elements: terrific music, cheeky social satire, comic pathos and a sensational cast singing faster than you’d think humanly possible – but with a seasoning of sinister spectres.

Wilton’s Music Hall with its faded Victorian grandeur, lends itself to a tale of ancestral ghosts who haunt the family picture gallery, and this innovative production will provide spine-tingling moments amidst the laughs.

Take a step back in time and experience Benedict’s hilariously haunting take on Gilbert and Sullivan’s tenth collaboration featuring some visual and musical surprises.

A family curse means a baronet must commit a crime every day or perish. In trying to escape his fate, he encounters dancing sailors, a bunch of frustrated bridesmaids and a chorus of ghosts. What could possibly go wrong?

Don’t miss this truly magical experience performed in London’s oldest Victorian music hall from 14^th March 2023.

Cast and creative team to be announced.

Age recommendation: 12+

Tickets
14^th – 25^th March 2023
Box Office: 020 7702 2789  
Online: www.wiltons.org.uk/whatson/774-ruddigore
Performances: Tuesday – Saturday at 7:30pm
matinées: Thursday and Saturday at 2:30pm
Age group: suitable for 12+
Getting there: Wilton’s Music Hall, Graces Alley (off Ensign Street pedestrian only), London E1 8JB. Closest tube stations are Tower Hill (Zone 1), Aldgate East (Zone 1) and Shadwell (Zone 2). Closest rail station is Fenchurch Street.

NEW CAST & VENUES ANNOUNCED

FOR THE INTERNATIONAL TOUR OF

BAT OUT OF HELL – THE MUSICAL

The original producers of Bat Out of Hell – The Musical, featuring Jim Steinman and Meat Loaf’s greatest hits, are delighted to announce both new and returning cast members for the International tour, including Glenn Adamson as Strat, Kellie Gnauck as Raven, Rob Fowler as Falco, Sharon Sexton as Sloane, Jayme-Lee Zanoncelli as Zahara, James Chisholm as Jagwire, Matteo Johnson as Tink, Katie Tonkinson as Valkyrie and Danny Whelan as Ledoux.

Also in the cast are Jay Anderson as O’Dessasuite, Alex Bowen as Goddesilla Georgia Bradshaw as Kwaidan, Amara Campbell as Vilmos, Eirik Dahlen as Esquivel, Alexandra Doar as Scherzzo, Luke Hall as Markevitch, James Lowrie as Denym, Rory Maguire as Hollander, Catherine Saunders as Mordema, Luke Street as Hoffmann/Alternate Strat, Craig Watson as Astroganger and Beth Woodcock as Spinotti.

Bat Out of Hell – The Musical will play limited seasons at Swansea Arena from 6 December to 15 December, the Capitol Theater Düsseldorf from 20 December 2022 to 04 January 2023. The musical will do an Arena tour of New Zealand and Australia from 22 January – 8 February 2023 visiting Spark Arena, Auckland, Qudos Bank Arena, Sydney, Brisbane Entertainment Centre, Adelaide Entertainment Centre, RAC Arena Perth and Rod Laver Arena, Melbourne.

The production will then return to the UK and play the Peacock Theatre in the West End from 17 February – 1 April 2023. Other European venues include Wiener Stadthalle F, Vienna and MAAG Halle, Zurich with further dates to be added.

Bat Out of Hell – The Musical wowed critics and public alike when it played limited seasons at Manchester Opera House, London Coliseum and London’s Dominion Theatre from 2017 to 2019. The musical also ran successfully in Canada, Germany and at New York’s City Centre in 2019. The current International tour began performances at Manchester Opera House on 11 September 2021 and has been playing to sold out houses and great critical acclaim. Bat Out of Hell – The Musical continues to have a residency at Paris Las Vegas Hotel & Casino where it opened to rave reviews on 27 September 2022.         

Bat Out of Hell – The Musical won the Radio 2 Audience Award for Best Musical at the Evening Standard Awards and was nominated for 8 WhatsOnStage Awards, including Best New Musical.

Bat Out of Hell became one of the best-selling albums in history, selling over 60 million copies worldwide.  16 years after the release of the original album, Steinman scored again with Bat Out of Hell II: Back into Hell, which contained the massive hit I Would Do Anything for Love (But I Won’t Do That).

For the stage musical, the legendary and award-winning Jim Steinman incorporated iconic songs from the Bat Out of Hell albums, including You Took the Words Right Out of My Mouth, Bat Out of Hell, I Would Do Anything for Love (But I Won’t Do That) and Two Out Of Three Ain’t Bad, as well as the previously unreleased song What Part of My Body Hurts the Most.

As the Lost boys and girls flee into the tunnels below the city from its ruler Falco, his teenage daughter Raven locks eyes with fearless leader of the Lost, the immortal Strat, and the immensity of their love-at-first-sight-obsessions threaten to destroy both of their families. Experience the thrill of the electrifying songs of Jim Steinman and Meat Loaf’s epic collaboration: “Bat Out of Hell.”

The International Tour of Bat Out of Hell – The Musical has book, music and lyrics by Jim Steinman, direction by Jay Scheib, with musical supervision and additional arrangements by Michael Reed, choreography adapted by Xena Gusthart,, set and costume design by Jon Bausor, original costume designs by Meentje Nielsen, original wig designs by Linda McKnight, video design by Finn Ross, lighting design by Patrick Woodroffe, sound design by Gareth Owen, orchestration by Steve Sidwell, original casting by David Grindrod CDG and International Tour casting by Anne Vosser.

The West End & UK Tour of Bat Out of Hell – The Musical is produced by Michael Cohl, Tony Smith & David Sonenberg with executive producer Julian Stoneman.

Bat Out of Hell dedicates this tour to the memory of Jim Steinman, who sadly passed away on April 19, 2021 and Meat Loaf who passed away on 20 January 2022.

Website:  www.BatOutOfHellMusical.com

Twitter & Facebook: @BatTheMusical

2022/23 TOUR LISTINGS INFORMATION

6 – 15 December                                   Swansea Arena                                                     01792 804770

                                                              www.swansea-arena.co.uk

20 December – 4 January 2023             Capitol Theater Düsseldorf                                    +49 021173440

                                                               www.eventim.de/artist/bat-out-of-hell-the-musical

22 January                                             Spark Arena, Auckland                                          +64 9 358 1250

                                                               www.sparkarena.co.nz

27 January                                             Qudos Bank Arena, Sydney                                  +61 2 8765 4321

                                                               www.qudosbankarena.com.au

30 January                                             Brisbane Entertainment Centre                               +61 7 3265 8111

                                                               www.brisent.com.au

2 February                                              Adelaide Entertainment Centre                               +61 8 8208 2222

                                                               rodlaverarena.com.au

8 February                                              Rod Laver Arena, Melbourne                                 +61 3 9286 1600

                                                                rodlaverarena.com.au

17 February – 1 April                               Peacock Theatre, London                                      020 7863 8000

                                                                www.sadlerswells.com/your-visit/peacock-theatre

13 – 16 April                                            Wiener Stadthalle F, Vienna                                   +4317999979                                                              

                                                        www.stadthalle.com

4 – 20 May                                              MAAG Halle, Zurich                                               +41 0900 444 262

                                                                bymaag.ch                                                          

Further dates to be announced.

NEW CASTING ANNOUCED

FOR

PEAKY BLINDERS: THE RISE

AT THE CAMDEN GARRISON

Producers Immersive Everywhere, in association with Caryn Mandabach Productions and Steven Knight, announce new casting for PEAKY BLINDERS: THE RISE, at the Camden Garrison, joining from Wednesday 9 November. www.immersivepeakyblinders.com

Joining the show will be Tanya Bridgeman (Milky Peaks for Theatr Clwyd and Wales Tour, The Fear at The Bunker) as Maggie Hill, Thea Butler (Twelfth Night UK Tour, Chicago at the Minack Theatre and Elegies for Angels, Punks and Raging Queens at the Charing Cross Theatre) as Lizzie Stark, Ivy Corbin (Doctor Who: Time Fracture and The Great Gatsby for Immersive Everywhere) as Polly Gray, Ross Ford (Comet at the Pleasance, Under Milk Wood at the Watermill Theatre and the UK and International tour of Much Ado About Nothing) as Arthur Shelby, Mabli Gwynne (Elegies for Angels, Punks and Raging Queens at the King’s Head) as Ada Thorne,  James Lawrence (Doctor Who: Time Fracture and The Great Gatsby for Immersive Everywhere, One Man, Two Guvnors UK Tour) as Walter McDonald and Harriett O’Grady (Secret Cinema’s Casino Royale and Dirty Dancing) as Pearl St. Clair.

They join Roxana Bartle (The Hound of the Baskervilles, Sophia)as Grace Burgess/Zilpha Lee, Isaac Beechey (The Laramie Project) as John Shelby, Sam Blythe (Doctor Who: Time Fracture for Immersive Everywhere and Secret Cinema’s Stranger Things, Casino Royale, 28 Days Later and Star Wars: The Empire Strikes Back) as Alfie Solomons, Angus Brown (Doctor Who: Time Fracture for Immersive Everywhere and Secret Cinema’s Casino Royale) as Charles Sabini, James Bryant (Doctor Who: Time Fracture and The Wolf of Wall Street for Immersive Everywhere) as an American Businessman, Craig Hamilton (Doctor Who: Time Fracture and The Great Gatsby for Immersive Everywhere and Secret Cinema’s Casino Royale) as Tommy Shelby, Daniel Mackenzie-Carter making his professional debut as Michael Gray, Reece Richardson (Human, 1984) as Georgie Sewell, Elliot Rodriguez (Doctor Who: Time Fracture for Immersive Everywhere, The Gruffalo) as Isiah Jesus, Daisy Winter-Taylor (Doctor Who: Time Fracture for Immersive Everywhere, Runway) as Phyllis Robbins.

PEAKY BLINDERS: THE RISE is an immersive theatrical show that places audiences in the heart of one of the world’s most popular TV series. Presented in collaboration with Peaky Blinders creator Steven Knight and Caryn Mandabach Productions, you are invited to get dressed up and fully immersed in Tommy Shelby’s world. As the story unfolds you will experience live sets, unmissable character interactions, competitive game play and ultimately determine whether Tommy Shelby and his family succeed in their ambition to take London.

1921, London. Tommy has taken the northern racecourses and eliminated his opponent, Billy Kimber. He now has his sights set on a London expansion… 

With the approval of north London kingpin, Alfie Solomons, Tommy personally invites you to a family meeting at the Shelbys’ Camden warehouse. Tommy has a plan that could prove lucrative for everyone, and it promises to be a night of celebration. 

Whether you kick back in the Camden Garrison Pub with Arthur, advise Tommy on his business affairs in his office, or conspire with the Italians in the Eden Club, how the family meeting goes is for you to decide. However, you must keep your eyes open and your ear to the ground, Tommy’s enemies are closer than you think, and they may want to make you an offer you’ll find hard to refuse. 

But before you choose where your loyalties lie, get suited and booted ready for a night with the Peaky Blinders at the Camden Garrison. With three possible narrative outcomes, your decisions have consequences and directly affect the rise or the fall of the Shelby family.   

PEAKY BLINDERS: THE RISE is directed by Tom Maller, who is also Creative Director, set and costume designs are by Rebecca Brower, with a script by Katie Lyons, music by Barnaby Race, lighting design by Terry Cook for Woodroffe Bassett, sound design by Luke Swaffield for Autograph, dramaturgy by Raphael Martin, the Associate Director is Elena Voce, the Vocal and Accent Coach is Sarah McGuinness, and the Movement Director is Charlie Burt.

Peaky Blinders, the TV series, was created and written by Steven Knight (Dirty Pretty Things, Eastern Promises and Locke) and recently returned for its final season, receiving five-star reviews and enjoying record viewing figures. The multi award-winning BBC One/iPlayer and Netflix series is owned and produced by Peaky Blinders’ official series and brand owner, Caryn Mandabach Productions and the television series is co-produced with Banijay Group’s Tiger Aspect Productions.

Peaky Blinders® © Caryn Mandabach Productions. All rights reserved. Licensed by Caryn Mandabach Productions.

Grand Opera House York – Friday 28th October 2022

Reviewed by Michelle Richardson

4****

Steve Steinman and Anything for Love returned to the Grand Opera House York on Friday night. After appearing on Stars in your Eyes as Meatloaf, Steinman has been touring the UK and beyond with his original Meatloaf Story and Vampires Rock for years, one of the hardest working bands out there. This tour again is supported by the wonderful vocals of Lorraine Crosby, the original artist who sang with Meatloaf on Anything for Love, off the Bat Out of Hell II album, she was also managed by Jim Steinman earlier in her career.

As usual with a lot of Steinman’s shows the theatre was packed out, proving what a huge loyal following they have. When the lights go out and the band enters the stage the audience couldn’t help but show their excitement for this celebration of Meatloaf and the music of Jim Steinman. Anything for Love is the first tune we hear with Crosby and Steinman belting out the classic hit. After working together for several years, they have some fabulous chemistry and camaraderie going on.

Steinman surrounds himself with a loyal group of performers, his ever-present side kick John Evans, providing backing vocals. If you’ve seen Vampires Rock, he is Bosley, a highlight of which are the animal print leggings with blue pvc pants over the top. Joining Evans were two backing singers and dancers, who never stopped. Their dancing was a complete workout, it was exhausting to watch. A huge accomplishment when they are also singing, stunning to watch, bravo ladies. The band were tremendous, each member having the opportunity to shine. I must send a shout out to the pianist, his solo piece was phenomenal.

As usual Steinman packed a punch with his vocals, emulating the powerhouse that was Meatloaf. Crosby’s vocals were stunning, she brings a fabulous energy to the show. I enjoyed hearing about her few encounters with Meat, especially the story about duetting with him at the ice rink in her neck of the woods, Whitley Bay. Who knew?

This is a show is a feast of Meatloaf’s greatest hits, with some Bonnie Tyler thrown in. Songs included Dead Ringer for Love, Took the Word Right Out of My Mouth, Paradise by the Dashboard Light, and many, many more. And of course, we can’t forget Bat Out of Hell. A must show for any fan.

Steinman just loves being on stage, he has a natural rapport with the audience. He has some excellent bite backs and is not afraid to laugh at himself. He has a winning formula and is not afraid to use it, long may it continue.

Tanya Moiseiwitsch Studio, Sheffield – until 28th October 2022

Reviewed by Sophie Dodworth

2**

Stopping at Sheffield Theatres Tanya Moiseiwitsch Studio is Quiet Rebels, a new play written and directed by Julie McNamara and Hassan Mahamdallie. A drama based on true-life stories of white women who crossed ‘the colour line’ to marry men from the Windrush generation. Women who lived with the ignorance of racism and social stigma directed against them and their families, but who are the foundations of today’s multi-cultural communities.

Real-life footage of women who experienced racial prejudice opens the show and this is most engaging, the audience respond well to this and alongside the awful racist times these women lived through, true love stories were created and to be told of these was heart-warming.

The setting is a dystopian one, in the UK in 2028 where Detective Shade (Deni Francis) investigates the murder of Aileen Burnett (Lottie Bell) – a white woman who married a black man and went on to having four children. Convicted as a ‘race-traitor’, she served time for ‘miscegenation’. Shade travels the multi-resistance underground network to the Northern Free Zone to solve the crime, where delving in to her past, everything she thought she knew about herself is challenged.

The set was simple but effective and provided a perfect back drop for the subtitles and signing that was used throughout. The subtitles did however highlight errors and missed dialogue during quite a lot of the performance, this did tend to draw your attention away from the main event.

Fiona Whitelaw shone in her roles of Mary Khan/Tracey/Betty Grogan, with a real ability to adapt to each character with fluidity.

Thought provoking theatre that touching on an important part of history that shouldn’t be forgotten.

The Alexandra Theatre, Birmingham – until Saturday 29th October 2022

Reviewed by Emma Millward

5*****

Based on the autobiographical book by Jay Osmond, the show charts the musical family’s rapid rise to fame from young children performing as a barbershop quartet on the Andy Williams Show in the 1960s to their meteoric success as a teen idol band in the 1970s, to Donny and Marie’s popular variety show from 1976 to 1979. 

We see the brothers as young boys with an overbearing ex-Army father/Manager who speaks to them as if they are all soldiers. The story is very much told from Jay Osmond’s (Alex Lodge) point of view, who narrates throughout the show. The troupe of actors who played the younger versions of the brothers were all very talented and their barbershop harmonies were spot-on. 

The stage was bright and colourful with   a rainbow striped floor with a bold stripe for each of the five main brothers in the band. It made the perfect backdrop for the performances of such songs as ‘Love Me for a Reason’ and ‘Crazy Horses’. The set and flamboyant costume design by Lucy Osborne perfectly captures the mood and style of the era. 

Darker elements of the family’s history are explored, including their brush with bankruptcy after they plough all their money into their recording studio, only for it to end disastrously when Donny and Marie’s show is threatened with cancellation and some unscrupulous business advice is given to the brothers. 

Throughout the show,  ‘Wendy from Manchester’ played with gleeful teenage excitement by Sophie Hirst reads out her letters she sends to Jay to tell him how much his music means to her. This adds a touching element to the show that I am sure a few of the audience members could identify with. 

Tristan Whincup (providing perfect understudy duty as Donnie for this performance) and Georgia Lennon both shone as Donnie and Marie, particularly in their solo songs ‘Paper Roses’ and ‘Puppy Love’. The latter of which sent certain ladies in the audience into a frenzy. 

Judging by the screams of adoration from certain members of the audience clad in sequinned hats and scarves, the appeal of the Osmonds has in no way died down over the passing years and the increase in the popularity of jukebox musicals’ takes full advantage of this ready-made fan base to the fullest. 

The show ended with a lively medley of the brother’s biggest hits which got the audience to their feet dancing and singing straightaway. Compared to other jukebox musicals I have seen, this stands up really well against all of them and provides a fun- filled night out for everyone. Whether you are a huge Osmonds fan or not, you will be up screaming along to those ‘Crazy Horses’ by the end of the show!! 

FINAL CASTING ANNOUNCED FOR

THE UK AND IRELAND TOUR OF
MOTHER GOOSE

THE NATION’S PANTOMIME

ANNA-JANE CASEY

TO JOIN

IAN McKELLEN AND JOHN BISHOP

OPENING AT THEATRE ROYAL BRIGHTON ON 3 DECEMBER 2022
BEFORE A SEASON IN THE WEST END AT
THE DUKE OF YORK’S THEATRE

FROM 15 DECEMBER 2022 TO 29 JANUARY 2023

Ambassador Theatre Group Productions are delighted to announce final casting for the UK and Ireland Tour of the pantomime MOTHER GOOSE. Anna-Jane Casey will join the show as Cilla The Goose with Mairi Barclay, Becca Francis, Shailan Gohil and Laura Tyrer also confirmed to join the company. www.mothergooseshow.co.uk

They join the previously announced Ian McKellen as Mother Goose, John Bishop as Vic Goose, Oscar Conlon-Morrey as Jack, Simbi Akande as Jill, Sharon Ballard as Good Fairy Encanta and Karen Mavundukure as Evil Fairy Malignia. The cast is completed by Adam Brown, Gabriel Fleary, Richard Leeming and Genevieve Nicole.

A West End star for over three decades, Anna-Jane Casey was most recently seen as Fraulein Kost in the award-winning production of Cabaret at the Kit Kat Club. Her many other West End credits include Velma Kelly in Chicago, Mrs Wilkinson in Billy Elliot, Lady of the Lake in Spamalot, Anita in West Side Story, Rizzo in Grease, Buffy, Dinah and Pearl in Starlight Express and Rumpleteazer in Cats. She played Dot in Sunday in the Park with George at the Menier Chocolate Factory, Mabel in Mack and Mabel at the Watermill Theatre, for which she won the TMA Award for Best Performance in a Musical and the title roles in Piaf and Sweet Charity and Violet Butterfield in Flowers for Mrs Harris, all at the Sheffield Crucible.

MOTHER GOOSE will play at the Theatre Royal Brighton from 3 – 11 December 2022, before a season at the Duke of York’s Theatre in London’s West End (15 December 2022 – 29 January 2023). It will then play Chichester Festival Theatre (7 – 11 February 2023), Sheffield Lyceum (14 – 18 February 2023), Wolverhampton Grand (22 – 26 February 2023), Liverpool Empire (28 February – 4 March 2023), Oxford New Theatre (7 – 11 March 2023), Bord Gais Energy Theatre Dublin (22 – 26 March 2023), and Wales Millennium Centre Cardiff (28 March – 1 April 2023) with further venues to be announced soon. This very special pantomime is the first of its kind to tour the country and play all the way to Easter!

It is written by Jonathan Harvey (Coronation Street, Gimme Gimme Gimme) and directed by award-winning director Cal McCrystal. Set and Costume design is by Liz Ascroft, Choreography by Lizzi Gee, Lighting design by Prema Mehta, Sound design by Ben Harrison andPuppet Design and Creation by Chris Barlow. Casting is by Anne Vosser and the Production Manager is Ben Arkell.

Mother Goose (McKellen) and her husband Vic (Bishop) run an Animal Sanctuary for waifs and strays and live a wholesome life inside an abandoned Debenhams. But when a goose (Casey) flies in, will fame and fortune get the better of them?! Will Ma’s feathers be seriously ruffled? Will Pa tell everyone to get stuffed?! And is their fair life about to turn fowl? Get ready for fairies with hefty vocal chords, puppets with tap dance qualifications and impeccably constructed mayhem that will quack up the whole family. This hilarious family-friendly mother of all pantos is the ultimate theatrical feast full of fun, farce and more than a couple of surprises that will make you honk out loud.

Mother Goose is produced by Ambassador Theatre Group Productions, Gavin Kalin Productions, Hunter Arnold, Seaview, Wessex Grove, Richard Winkler & Dawn Smalberg, Caiola Productions and George Waud for Groove International.

The Londoner is the official hotel partner of Mother Goose.

Wilton’s Music Hall, London – until 12th November, then Warwick Arts Centre

Reviewed by Alun Hood

2**

Science fiction is a difficult genre to pull off in the theatre. There’s something about the warm immediacy of live performance that is anathema to the chilly mechanics of futuristic fantasy. The distance that the screen lends, along with (usually) drastically bigger production budgets, tends to mitigate against the more risible aspects of stories set in an almost unimaginable, frequently unrelatable alternative universe. When it works on stage, it tends to be either as musical comedy (Return To The Forbidden Planet, We Will Rock You) or, as in the recent Yard version of The Cherry Orchard set on a failing spaceship, underpinned by a rock solid, and already familiar, set of characters and circumstances. Even the usually brilliant Mike Bartlett came unstuck, in his 2010 National Theatre epic Earthquakes In London, where the portions set far in the future somewhat undermined what was elsewhere a searing, multi-layered family drama.

David Farr’s new play, briefly in London following performances in Bristol and Plymouth and before moving on to Warwick, is an earnest addition to an underpopulated genre. Undeniably ambitious, but more ponderous than engaging, it doesn’t make a great case for creating stage dramas in this mould. The premise is interesting enough: damaged, disenfranchised Sam (Gemma Lawrence, investing the character with more inner life than the writing might suggest) is summoned to New Mexico to identify the body of her estranged mother Kath, only to discover herself confronted with a robotic avatar of the deceased, the creation of ‘Future Life’, a glossy but shady biotech company “questing to take humanity into the third millennium”.

The play interrogates the nature of grief, what the ending of life really means, monetary greed and family dynamics, and does so in a series of flashbacks showing Kath’s earlier life as a rebellious artist and student protestor in 1960s America, then, somewhat improbably, as a 1970s London punk and, even less believably, a power-suited 1980s big business go-getter. Eve Ponsonby inhabits each iteration with considerable verve but is fighting a losing battle against a turgid, clichéd script. She also has to maintain extensive portions of the play as Katy’s dead-eye, monotoned avatar, who is hardly what one could call interesting theatrical company, but at least isn’t unintentionally funny, which she could be in less skilled hands.

Splicing together sci-fi with a potted history of 20th century social movements and fashions, is unusual and intriguing, but when each section is so eye-rollingly unoriginal, and all the characters so resolutely unsympathetic, it becomes difficult to engage. The dialogue is serviceable but seems calculated more to hammer home Farr’s ideas than to illuminate the people and situations in his story.

Rachel Bagshaw’s production doesn’t help much. It has tremendous energy for the most part, but misses a trick in it’s constant use of Sarah Readman’s excellent video designs that exhilaratingly conjure up the trashing of a work of art, or Kath’s fevered creation of a painting, but might equally have been useful in providing indications as to the ever-changing locales and time periods. Instead though, the visual aesthetic remains resolutely abstract, even though it looks rather elegant, and a bewildering text and uninvolving characters remain out of reach. A subplot involving a terminal illness for Leo, the only man Kath really ever loved (played with hangdog good humour by David Burnett), is introduced too late in the play to carry any real tragic weight.

The final image, involving a rapprochement of sorts between mother, daughter and Leo, feels as though it is straining for some sort of catharsis, or at least bleak acceptance, but crowns an overlong story too elliptical and lacking in emotional engagement to provoke much more than relief at getting out of the theatre. Hugely disappointing.

Grand Opera House York – 26th October 2022

Reviewed by Michelle Richardson

4****

It was great to see the Grand Opera House York busy midweek, with what looked like a packed-out theatre. The crowd were eagerly awaiting to celebrate the music of one of the greatest bands ever, the fabulous Queen and its frontman Freddie Mercury. Mercury are well established, with over 20 years of touring as a tribute band.

You can feel the anticipation in the audience as the lights dim and the oh so familiar sound of Queen is heard in the shadows, an introduction to what is to come. The band members enter the stage, calmly take up their positions, before Freddie (Joseph Lee Jackson) bounds onto the stage, with Seven Seas of Rye, to loud cheers.

Straight from the off Jackson has Freddie’s mannerisms and characteristics spot on. Oh, so confident, strutting his stuff, truly encapsulating the spirit of Freddie. His voice when speaking to us, sounded just like Freddie as well, I was hugely impressed that he had mastered his craft so well. Glenn Scrimshaw, as Brian May, is a skilled guitarist, which was emphasized with a couple of solo pieces. I must also mention Lee Harvey on keyboard and vocals. He was terrific and has such enthusiasm, it was infectious and glorious to watch. The entire band delivered a slick and engaging performance.

All the great hits were played, if I’m truly honest some better than others, but as the show progressed, they got better and better. I for one, could not help but sing along to the wonderful tunes, make sure you wear earplugs if you ever find yourself sitting next to me. The song list was pretty comprehensive with Bohemian Rhapsody, Fat Bottomed Girls, We Are The Champions, Radio Ga Ga, We Will Rock You, and many, many more. A feast of Queen songs, that any fan would love to hear.

The costumes were what you would expect from the flamboyant Freddie, white trousers, Adidas trainers, jackets. Jackson’s costume for I Want To Break Free, is a sight to behold, an exaggeration on the original, and he can sure move a hoover around on stage. Mustn’t forget the Union flag and right at the end of the show, the iconic cape and crown, the icing on the cake. This show has pyrotechnics and loud bangs throughout that had me jumping in my seat, which only added to the experience.

Queen is still a legendary band to this day and Mercury do them justice. I have seen Queen live, but with Adam Lambert at the helm, and I must say they were brilliant, best concert I have ever been to. How great it would have been to see Freddie on stage and I’m envious of anyone who was lucky enough to have had that pleasure.

This tribute show is a celebration of the magic of Queen and appeals to all. There were all generations in the audience, a family in front on me had a very excited young son, parents and grandparents, all savouring the amazing music that is Queen.

53TWO, MANCHESTER – UNTIL 4TH NOVEMBER 2022

REVIEWED BY MIA BOWEN

4****

Last night Switch_MCR’s new Horror Play The Other Side, had the audience jumping in their seats and shrieking, creating the perfect creepy mood for Halloween. This brand new Horror story will be raising hairs in the streets of Manchester for two weeks. Switch_MCR is a theatre based company that has grown to be one of the largest independent companies in Greater Manchester and was founded in 2018 by Royal Exchange Young Company graduates. In the same year they teamed up with 53two, one of the country’s most exciting new theatres. A former car showroom and buried under the arches of Deansgate Castlefield, this atmospheric arts venue is fully accessible and is an arts charity, theatre and café/bar for artists, by artists. The stage is at ground level and the seats are placed higher than the seats immediately in front of them so that the occupants of further back seats have less of their views blocked by those further forward. The seats are not reserved, so it is first come, first serve. Before and on arrival at the performance, the audience was made aware of content warnings, such as sudden noises, flickering lights, strobes and haze.

After their sell-out production of ‘We Won’t Fall’, Gabriel Clark (Director and co-writer) and Andrew Long (Benjamin Bates and co-writer) kicked off their new season with this unique spine chilling two act horror story. The first act is just over an hour and second is 45 minutes, with a 20-minute interval in between the two.

The story begins with Benjamin Bates talking to a woman, performed by Gráinne Flynn. It appears Bates is a patient attending a therapy session. You come to learn that Bates’ fiancé Claire Cross performed by Ntombizodwa Ndlovu’s, mother had died unexpectedly and left the family home to her. Claire has to confront her fear, grief and loss, as her past comes back to haunt her.

The talented cast gave realistic and sympathetic performances. Long’s performance was flawless and full of energy, considering he spend the most time on stage out of the cast. A lovely surprise was from Ndlovu when she sang along to the record player, with her euphonious voice. I really enjoyed Flynn’s character but the more you learned, the more she made the audience feel unsettled.

Mims Jeddal’s lighting, Jack D’Arcy’s sound and Elli Kipriadis’ set facilitated an immersive experience and brought to life the creepy house.

If you are a horror fan, like me, I dare you to buy a ticket, you are guaranteed a spooktacular evening.