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Darlington Hippodrome – until Saturday 8 January 2021

5*****

I don’t think it’s a secret that I love the Rocky Horror Show and I have seen it many times.  But my visit to see it in Darlington was very different, in that we had a very polite and well behaved audience!

Audience participation is a huge thing with Rocky Horror and there were a few people dressed up, but for once these were in the minority and more conservatively dressed amongst us was the norm.  There were some “helpful” heckles to move the story along, but these were from lone voices and not full chants and they didn’t get all the audience chants, the cast could be seen expecting an aside and moving on after getting nothing

Philip Franks was, however, a very competent Narrator and managed to move on the proceedings even when faced with a quiet audience.  His ad libs were hilarious, even causing the cast to corpse.  He really shines in his role and, for me, is one of the best Narrators I’ve seen.

Whilst previous leads have played Frank as sophisticated and mysterious, Stephen Webb gave a fresh, vibrant and brilliantly scandalous performance as Frank ‘n’ Furter, with spot on comic timing.  Excitable like a child in a sweet shop, his vocals – especially in his final solo piece – were outstanding and he seemed to love the audience as much as they loved him, interacting well.

Brad and Janet are played by Reece Budin and Hayley Flaherty, both have excellent voices and portray young and naive with perfect charm.  Almost stealing the show, Joe Allen gave us his superb version of Eddie/Dr Scott. A fabulous rendition of both Hot Patootie and Eddie’s Teddy and high kicking in a wheelchair showed what a star he is

Filling the shoes of Richard O’Brien is Kristian Lavercombe, a near perfect version of Riff Raff.  His mannerisms, acting and comic timing show why he has played the role more times than his creator.

There isn’t a weak link in this show at all, performers, musicians and outstanding production make this one of the best versions of Rocky Horror to tour in a long time.It’s a fan favourite, full of innuendo, an adult pantomime, camper than Christmas, and a guaranteed standing ovation when the audience finally rises as one to do an encore of the Time Warp.

STEPHEN UNWIN DIRECTS THE WORLD PREMIÈRE OF

TIM WALKER’S NEW PLAY BLOODY DIFFICULT WOMEN

AT RIVERSIDE STUDIOS

Wind of Change, in association with Cahoots Theatre Company, today announce the world première of Tim Walker’s Bloody Difficult Women, charting the events behind the court case Gina Miller brought against Theresa May in 2016 and what has ensued. Stephen Unwin’s production opens at Riverside Studios on 1 March at 7.30pm, with previews from 24 February, and runs until 26 March.

Tim Walker said today: “There are a lot of people who do not want this play to be staged, and, in all honesty, I couldn’t give a damn. I’m determined to see it go on, no matter what, as it is about so much more than a courtroom showdown between two determined women. It explains how we’ve got ourselves into this bloody awful mess. It is a play that is not so much angry, as incandescent with rage.”

Wind of Change

in association with Cahoots Theatre Company

presents

The world première of

BLOODY DIFFICULT WOMEN

By Tim Walker

Director: Stephen Unwin; Designer: Nicky Shaw; Lighting Designer: David Howe

Sound Designer: John Leonard

24 February – 26 March

“If standing up for what you believe to be right is being ‘bloody difficult’, then so be it”

Theresa May

Tim Walker’s brand-new drama sees the tumultuous political events of recent years played out in a power struggle between two determined women.

His intensely human account of the court case Mrs Miller brought against Mrs May makes for revealing and often very funny theatre, but ultimately it’s a tragedy, where there are no winners, only losers.

Walker brings the story bang up to date in a dramatic finale which says so much about the deep divisions we still have in our country.

Tim Walker is an author, broadcaster and British Press Award-winning journalist. He had a unique insight into the cases Gina Miller brought against the governments of Theresa May and Boris Johnson as he advised her on media strategy on both occasions. He has worked in staff positions on The Observer, the Daily Mail and The Sunday Telegraph, where he was the theatre critic. More recently, he has written columns for the Daily Mirror and The New European. He stood briefly as the Lib Dem parliamentary candidate in Canterbury in the last election. Star Turns, his latest book, was published in September.

Stephen Unwin directs. Unwin founded the English Touring Theatre in 1993. For the company, he directed more than 30 productions of classical and new plays, including award-winning productions of Hamlet with Alan Cumming, Hedda Gabler, Henry IV Parts One and Two with Timothy and Samuel West, King Lear with Timothy West, The Seagull with Cheryl Campbell and Ghosts with Diana Quick and Daniel Evans. These transferred to the Donmar and the Old Vic. He produced two plays by Jonathan Harvey and Peter Gill’s award-winning The York Realist as well as Sir Peter Hall’s production of Uncle Vanya. In 2008, he became Artistic Director of the new Rose Theatre in Kingston, which he ran until January 2014. His productions there included Hay Fever with Celia Imrie, The Importance of Being Earnest with Jane Asher, The Lady from the Sea with Joely Richardson, The Vortex with Kerry Fox and Day in the Death of Joe Egg with Ralf Little. He hosted the very successful Time to Talk series with 50 leading actors and personalities. Also an author, he has written 10 books on theatre, drama and related subjects, as well as numerous articles for newspapers and journals. He is also is active in campaigning for the rights of the disabled. He is Chairman of KIDS, a national charity which provides a wide range of services for disabled children, young people and their families.

SEE IT SAFELY

We have been granted the use of Society of London Theatre & UK Theatre’s See It Safely mark. The mark certifies that we are complying with the latest Government and industry COVID-19 guidelines, to ensure the safety of our staff and audiences. You can find out more here [https://www.riversidestudios.co.uk/book/winter-theatre-season–our-covid-measures or link to https://officiallondontheatre.com/see-it-safely/] about the measures we have been putting in place ready for your visit, and what you will need to know beforehand.

Michèle Taylor (Director for Change, Ramps on the Moon) is appointed MBE for services to Theatre and People with Disabilities as part of the New Year’s Honours list and has released the following statement:

“I am delighted to accept this award for services to Theatre and People with Disabilities. 

Like any award, this honour is about the work of a whole team: it is a privilege to be Director for Change at Ramps on the Moon, working with consortium partners to make meaningful change so that disabled people can take our place in the mainstream theatre industry. Sarah Holmes, Chief Executive at The New Wolsey Theatre, has been a particularly important ally to disabled people working in theatre; without her, Ramps on the Moon would never even have happened and it has been a real pleasure to work alongside her in this endeavour.

I have been delivering training and giving advice to cultural organisations for more than 30 years. My work has always been about making disabled people more visible across our cultural industries, demystifying disability equality and debunking the myths around making the necessary changes. It has been exciting to see that work amplified and platformed in new ways since we set up Ramps on the Moon in 2015, with thanks to the support of the Arts Council. 

Ableism is being challenged in the theatre industry and our wider cultural sector like never before, but if the last two years have shown us anything, it is that the place of disabled and deaf people is precarious; we cannot rest in this work.

I see this award as a celebration of what disabled and deaf people have achieved in fighting ableism, and an acknowledgement of the importance of continuing to work for equality in order to enrich our cultural landscape.”

ABOUT MICHÈLE TAYLOR

Michèle Taylor works as Director for Change for Ramps On The Moon. This is the Arts Council Funded consortium aiming to change the theatre sector by bringing more Deaf and disabled people into the sector and making them more visible.

Michèle has more than 25 years experience working in arts and heritage, focusing particularly on disability issues, and a background in professional theatre having performed in, written and directed shows for all ages (credits include work with Graeae and Roundabout Theatre Companies). She is therefore well-placed to support the 7 partner organisations to embed sustainable change and to disseminate their learning so that the wider theatre sector can benefit.

Michèle set up her own business in 1992 to work at that edge where disability and ‘the mainstream’ meet, training and advising organisations on making their practices, policies and premises inclusive of disabled people. Since then, her practice has broadened out to take good account of changes in the legislative approach and in recognition of equality and diversity principles as a whole.

She is a Registered Member of the Institute of Equality and Diversity Professionals, a qualified psychotherapist and accredited coach as well as being an experienced facilitator and trainer.

Previous clients have included strategic bodies such as Arts Council and local authorities as well as the Royal Shakespeare Company, the Royal Opera House, Universities including Nottingham and Gothenberg and the University of the Arts in London, and the Sherwood Psychotherapy Training Institute. She has been involved for nearly 10 years in an initiative in the Western Balkans supporting Museums to develop policy and practice around disability.

ABOUT RAMPS ON THE MOON

Ramps on the Moon is an award-winning Arts Council funded collaborative theatre network that comprises of core consortium members: New Wolsey Theatre, Leeds Playhouse, Birmingham REP, Nottingham Playhouse, Theatre Royal Stratford East and Sheffield Theatres.

Regional Theatre Young Directors Scheme (RTYDS) and Wiltshire Creative are Associate Partners of the network.

Ramps on the Moon’s aim is to elevate and normalise the place of disabled and deaf people in mid-scale mainstream theatre, and the consortium partners are excited by seeing diversity as an engine for even greater creativity.

Ramps on the Moon’s accolades to date include an Olivier Award nomination for Birmingham REP’s production of The Government Inspector, the UK Theatre Award for Best Touring Production 2017 for The New Wolsey’s production of The Who’s Tommy, and the 2017 UK Theatre Promotion of Diversity Award to The New Wolsey for its work on Ramps on the Moon.

Ramps on the Moon most recent project was award-winning playwright Bryony Lavery’s critically-acclaimed adaptation of Charles Dickens’ Oliver Twist, produced by Leeds Playhouse in association with Ramps on the Moon, which was made available to stream during Autumn 2021.

NEW ADVENTURES ASSOCIATE ARTIST AND

TONY AND OLIVIER AWARD WINNING DESIGNER 

LEZ BROTHERSTON

TO RECEIVE AN

ORDER OF THE BRITISH EMPIRE

IN THE QUEEN’S

NEW YEAR HONOURS 2022

New Adventures is thrilled to congratulate Associate Artist and Tony and Olivier Award Winning designer Lez Brotherston on his Order of the British Empire in The Queen’s New Year Honours 2022 for services to Dance and Theatre.

Matthew Bourne said today, “Sending enormous congratulations to Lez Brotherston OBE on this much deserved honour, from the entire New Adventures Family. As my foremost collaborator, Lez’s contribution to the success of New Adventures is incalculable and much loved and admired across our industry. His particular contribution to dance design is unprecedented from his collaborations with Northern Ballet (under Christopher Gable) and Scottish Ballet (under Christopher Hampson) being especially significant. However, I’m proud to say that his longest association is the role he has had in shaping what many would recognise as the New Adventures “style” – our repertory of works is synonymous with the genius of Lez Brotherston – and today we celebrate a great man of contemporary theatre receiving the recognition that he so richly deserves” 

Lez Brotherston is an Associate Artist of Matthew Bourne’s company New Adventures.  His long collaboration with Matthew Bourne includes, “The Red Shoes”, “Romeo and Juliet”, “Sleeping Beauty”, “Edward Scissorhands”, “Lord of The Flies”, “Swan Lake”, “Play Without Words”, “Highland Fling”, “Dorian Gray”, “Cinderella” and “The Car Man”.  

His other credits include co-writing and co-directing “Les Liaisons Dangereuses” with Adam Cooper (Japan and Sadler’s Wells).  “Merry Wives of Windsor”, “The Rover”, “The Empress”, “Much Ado About Nothing”(Royal Shakespeare Company); “Me and My Girl”, “Fiddler on the Roof”(Chichester); “Twelfth Night”, “Romantics Anonymous” (Shakespeare’s Globe); “Flowers for Mrs Harris”, “Showboat”, “Pride and Prejudice” (Sheffield Crucible); “946” (Kneehigh/Globe Theatre); “Oh, What A Lovely War!” (Stratford East/West End), “Hysteria”(Hampstead Theatre); “Long Day’s Journey Into Night”, “Umbrellas Of Cherbourg”, “The Rise and Fall of Little Voice”, “Under The Blue Sky” (West End); “Sister Act” (West End, Worldwide); “Women Beware Women”, “Really Old Like 45” (National Theatre); “Hedda Gabler”, “Design For Living”, “Dancing at Lughnasa” (Old Vic); “Duet For One” (Almeida and West End); “My City”, “Measure For Measure” (Almeida); “L’Elisir d’Amore” (Glyndebourne).

Sing for a Sailor

‘Sing for a Sailor’ is a platform giving those who are professionally trained in musical theatre and/or opera the chance to appear in Sasha Regan’s smash-hit All-Male H.M.S. Pinafore at Wilton’s Music Hall next Spring (16^th March – 9^th April 2022).

The award-winning All-Male Gilbert & Sullivan Company are looking to expand and are on the hunt for rising musical theatre/opera stars from diverse backgrounds.

Whether you are male, male-identifying, non-binary and from diverse cultural backgrounds, the good ship Pinafore needs you and we’d love to hear you sing. The All-Male Company is looking for those with a strong vocal across all vocal lines and are especially keen to hear from those with a strong falsetto who have trained in musical theatre. The role is also very physical – the show will be choreographed by the amazing Lizzi Gee whose recent credits include: ‘H.M.S. Pinafore’; ‘The Merry Widow’ and ‘Iolanthe’ (English National Opera), as well as Sasha Regan’s All-Male G&S series.

How to apply

Prepare a favourite song of your choice – musical theatre or operatic.

Post on Twitter, tagging the following:
@allmalehms
@AdamBraham
#SingForASailor

We stress this is not an online audition, but a chance to showcase your talent, get noticed and invited to audition in the New Year. 

Anyone not feeling comfortable with posting online can e-mail our casting director directly on: [email protected]

The deadline for posting is noon on Friday 21st January 2022.

About the All-Male Company

Sasha Regan’s inventive reimagining of W. S. Gilbert and Arthur Sullivan’s fourth collaboration and first international blockbuster H.M.S. Pinafore or The Lass That Loved a Sailor, is set on a World War II battleship.

Set in the ship’s hold, the cast of 16 switch between burly sailors to lady visitors. A playful, innovative and heartfelt production.

Sasha Regan’s All-Male Company has toured all over the UK and abroad, receiving numerous awards, including winning Best Off-West End Production at the WhatsOnStage Awards in 2009 for The Pirates of Penzance. The Pirates of Penzance ran at Wilton’s Music Hall several times.  The show toured Australia and ran at the prestigious Sydney Theatre Company, thanks to Cate Blanchett, then co-artistic director, and last year it received widespread acclaim when it ran in the West End at the Palace Theatre.

The All-Male Company also toured with ‘Iolanthe’ (Critics’ Choice & Time Out’s top 10 musicals of 2010).

H.M.S. Pinafore is one of the most popular Gilbert & Sullivan operettas, dealing with the age-old conundrum of love between social classes. With infectious tunes and a beautifully constructed libretto, it is a perfect match for this creative team’s inimitable style.

Sasha Regan’s All-Male H.M.S. Pinafore has toured the UK, as well as being staged at the Hackney Empire to widespread critical acclaim. 

The All-Male Company would love to hear you sing and invite you to join H.M.S. Pinafore’s next voyage to Wilton’s Music Hall.

★★★★ ‘An extraordinary adventure’
Music OMH

Runs: 16^th March – 9^th April 2022

at Wilton’s Music Hall

https://www.wiltons.org.uk/whatson/698-h-m-s-pinafore

CONTAINED LIVERPOOL PRESENTS: THE EXORCIST… LIVERPOOL’S MOST IMMERSIVE HORROR ESCAPE ROOM EXPERIENCE

 Contained Liverpool Is back with a Brand New Horror Escape room Experience! Halloween might be over, but if you’re looking for a scream, Contained Liverpool is open on weekends, year round with their brand new horror escape room game. 

The Live action Escape room experience will take you on a 60 minute journey (or less if you escape) of pure fear as you collect clues and solve puzzles in order to escape.

 This immersive escape room will have your heart pounding as you race against the clock and attempt to find Father Daniels, who has mysteriously disappeared whilst investigating the possession at the child’s home.

 His last known location was at the home of a 12 year old girl who he believes was possessed by a vicious demon.

 You must head to the house and search for the missing priest & assist him with the exorcism. Should you not find him, you will have to attempt the exorcism alone!

 Be warned, unholy things have been happening in the house, you’ll need to bring your courage and logic, as you come face to face with the demon in a final battle of good vs evil! 

This tech heavy, interactive escape room is packed with challenging puzzles, thrilling frights and special effects

Maximum 6 people per game

 Ticket price: 

Groups of 2-3: £25 per player

Groups of 4-6 : £20 per player

Booking Link: www.containedliverpool.co.uk

If you are lucky enough to live to tell the tale, the rest of your life will be plagued with nightmares. The possessed girl’s face haunts you as you sleep, always wondering if the demon will choose you next to possess!

Groups who are brave enough to join us for this ultimate, horror escape room experience will endure 60 minutes of fear, puzzles, and clues with a maximum group size of 6 persons per booking and a minimum of 2 persons. 

Give The Gift Of Fear: 

Gift Cards now available and can be purchased here: bookeo.com/containedliverpool/buyvoucher

Please note:

This event is not for the faint of heart, you may encounter scenes and creatures that some audience members may find distressing, including sexual references, bad language, loud bangs, Darkness and will need to be able to bend down to floor level.

You will encounter the use of flashing lights, non-toxic smoke effects and loud noises inside the escaperoom. ENTER AT YOUR OWN RISK!

This event is recommended for persons aged 15+ 

Any person under the age of 18 years MUST be accompanied by a responsible adult inside the game.

Liverpool Empire Theatre – until 1st January 2022

Review by Carla Whittaker

4****

Dreamgirls tells the extraordinary story of three talented young singers in the turbulent 1960’s who embark on a musical rollercoaster ride through a world of fame, fortune, and the realities of show business, which tests their friendships to the limit. For me, this show is all about the music and consistent strong vocals which is absolutely sensational and sends tingles down your spine and sends the audience wild. A special mention must go to Nicole Dennis who plays the iconic role of Effie White whose credits include a finalist of The Voice in 2019. Her stage presence was phenomenal and her vocals were impeccable particularly when singing ‘And I Am Telling You I’m Not Going’. Never in my years of attending the theatre have I known a standing ovation at the interval! Listen, I Am Changing and One Night Only were also phenomenal. The choreography of the show was slick, extravagant and showcased the casts impressive move sets; simply superb. Backdrops for the production was magnificent with frequent spectacular backdrop changes of concert halls, stages, and TV studios.

Dreamgirls is playing at the Liverpool Empire Theatre until the 1st January 2022. It is the perfect show to watch to add glitz and glamour to your Christmas; you won’t be disappointed.

I was delighted to be able to watch the Broadway and West End smash hit Dreamgirls which is playing to sell-out crowds at the Liverpool Empire Theatre until the 1st January 2022. The Liverpool Empire Theatre is one of my favourite theatres given the intimate seating and traditional décor. Due to current covid precautions COVID vaccination passports need to be showed prior to entry, or evidence of a negative COVID test, and masks unless exempt must be worn within the theatre at all times.

MAST Mayflower Studios, Southampton – until 31 December 2021

Reviewed by Emma Barnes

5*****

Peter Pan An Awfully Big Musical Adventure is the first ever Christmas Youth Production at MAST Mayflower Studios and it has certainly set the bar high for future performance.   The production was jam packed full of music, adventure,  magic and imagination from start to end. 

We were whisked away from the Darling children’s nursery to Neverland where we met the Lost Ones, the Brave Ones,  the swashbuckling pirates and the dark and sinister Captain Hook.  The timeless tale was performed with such skill, we found ourselves  delighted by the lost ones,  mesmerized  by the mermaids, and on the edge of our seats when the pirates came out.   Do we believe in Fairies – we do now!

This was a story that celebrates youth and the magic of childhood,  and this couldn’t have been more appropriately demonstrated by the joy and happiness that radiated from the cast. The clever use of popular songs had us singing along throughout. On several occasions the audience joined in and spontaneously clapped along. I think it’s fair to say that everyone in the room wanted Wendy as their Mother,  and there wasn’t a dry eye in the house when the children finally flew back to the nursery. 

The scene changes were managed seamlessly and professionally by the cast who made excellent use of the stage area and props.   A highlight for us was the slow motion battle scene which had us shouting and cheering.  The sizeable cast were wonderfully choreographed and it was especially noticeable that they all had an opportunity to showcase their individual talents and shine, we were treated to brief moments of ballet and also gymnastics which were cleverly woven into the storyline. 

I certainly recommend a trip to Neverland at any age! Second to the right, and straight on till morning!