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HighTide presents:

When The Long Trick’s Over

By Morgan Lloyd Malcolm

Directed by Chinonyerem Odimba

running time: approx 75 minutes

TOURING FROM 11^th FEBRUARY TO 10^th MARCH

“I’m so scared. And yet…I’m also looking. … Just in case I see her… 

Even though by now there wouldn’t be that much to see…”

Two sisters. One dream. The hardest open-water swim in the world. 

HighTide and New Wolsey Theatre are delighted to present this triumphant play from Olivier Award winning Morgan Lloyd Malcolm – a work which moves forwards and backwards in time across the 21 miles between Dover and Calais as a young swimmer harnesses her mind and body to make the crossing. 

Tackling what it means to grieve, both physically and mentally, how we deal with loss and all the ways in which those we have lost paradoxically remain present in our lives as we struggle through our world without them. With grief and joy, 90’s pop-songs and lists, When The Long Trick’s Over encapsulates the fact that love persists whatever the distance, and however perilous the journey to the other side. And that, sometimes, it means swimming against the tide and against the things that hold you back: the old memories and oil tankers, jelly fish and jelly babies. 

Focusing on the untapped strength of our bodies and family connections, Morgan’s East of England debut production is very much a piece for our times and a step change for HighTide as it produces its first full scale tour since the pandemic, and continues in the organisation’s mission to produce quality new work across Suffolk.  

Writer Morgan Lloyd Malcolm said, “I am so excited about touring my play around the East of England.  It’s a piece that is close to my heart and having visited but never worked in the communities we will be visiting; I’m so looking forward to getting the chance to spend some proper time there creating this piece with the HighTide team.  I can’t wait to take audiences on this journey through the waves of the English Channel.  It’s going to be magical.”

HighTide’s Artistic Director and CEO, Suba Das; and New Wolsey’s Chief Executive, Sarah Holmes and Artistic Director Peter Rowe joint statement: We’re delighted to be launching the first co-production between HighTide and the New Wolsey; and HighTide’s first full-scale production since lockdown.  

This world premiere production marks the first time Morgan Lloyd Malcolm – a real star of contemporary British theatre – has had her work produced in the East of England and we’re delighted that HighTide and the New Wolsey’s new partnership means that our audiences will have their first encounter with one of our greatest theatre talents. We’re even more excited that with touring dates to Aldeburgh, Lowestoft, Diss, Halesworth and Bury St Edmunds, work being made in Ipswich is really reaching out across the whole of Suffolk. For HighTide especially, it’s an honour that this new production, led by the trail blazing Chinonyerem Odimba, sees HighTide return to friends and audiences in previous festival homes in Aldeburgh and Halesworth. 

This world premiere follows HighTide’s Inventing the Future festival in October, which showcased six brand new plays and formally launched HighTide’s partnership with the New Wolsey, supporting new writing in the East of England.

We’re particularly proud to present this lyrical and funny play about how family, your favourite pop songs, and the physical act of swimming, can all help overcome grief as we all continue to recover from the pandemic. We hope our audiences will all find joy and strength in a story that celebrates the indomitable fortitude of the human spirit. 

HighTide Associate Artist and playwright, screenwriter, poet and director Chinonyerem Odimba, (*Medea at Bristol Old Vic, We Too, Are Giants for Kiln Theatre, Unknown Rivers at Hampstead Theatre, Prince and the Pauper at Watermill Theatre), will direct the work by Olivier Award winning playwright Morgan Lloyd Malcolm (Emilia, West-End, and Mum at Soho Theatre.

Chinonyerem said, “It’s a very special piece of writing about all the beautiful ways we can be both wholly in pursuit of life, but also standing still in grief. I am thrilled to be directing this, and to be making work as a HighTide  Associate Artist. I can’t wait to meet audiences on tour with this new play!”

The tour kicks off with four dates (Fri 11^th – Tuesday 15^th Feb at The New Wolsey theatre before touring to Jubilee Hall, Aldeburgh, Oxford Playhouse, Norwich Arts Centre, The Corn Hall, Diss, Theatre Royal Bury St Edmunds, Mercury Theatre, Colchester, Marina Theatre, Lowestoft and The Cut, Halesworth.

RSC ANNOUNCES THE RETURN OF STRATFORD CHRISTMAS WINDOW TRAIL

The Royal Shakespeare Company has announced the return of the Stratford Christmas Window Trail. Following its popularity and success in 2020, the trail will again comprise 24 fun and engaging window displays created in partnership with local shops, community groups and independent businesses based in Stratford-upon-Avon town centre.

Launching on Thursday 25 November – the same day as Stratford’s Christmas lights switch on – all 24 windows will respond to the themes of hope and magic from the RSC’s current family musical, The Magician’s Elephant, and will feature a hidden elephant to spot.

Participating businesses and organisations include The Dog’s Trust Charity Shop, Escape Arts, For Something Different, The Flower Shop, Roly’s Fudge Shop, Shakespeare Distillery, Stratford Library, Sue Ryder Charity Shop, and Vaughan Reynolds Estate Agents (working with and supporting the Fred Winter Centre).  

The RSC will work with Photography, Art and Media students from Stratford College on creating a display in the window of the former Debenhams store, which will feature a large elephant artwork.  In an imaginative use of space, the RSC’s own window will be the phone box by the Swan Theatre.

Geraldine Collinge, RSC Director of Creative Placemaking and Public Programmes, said: “I’m delighted that the RSC is working with the town of Stratford again on the Christmas Window Trail. There’s something particularly magical about Stratford during this season.  We hope the trail will encourage everyone to come into town and have fun visiting each of the windows, and support the rich mix of independent businesses based in the town.”

A full schedule for the Christmas Trail featuring a list of participating businesses and locations can be found at www.rsc.org.uk/christmas-trail

AHEAD OF THE FIRST PERFORMANCE TONIGHT

THE PRODUCERS ARE DELIGHTED TO REVEAL A FIRST LOOK OF

CABARET

AT THE KIT KAT CLUB

As the Kit Kat Club opens its doors in the West End for the first time, ATG Productions and Underbelly, the producers of CABARET at the KIT KAT CLUB are delighted to reveal a first look of the production starring Eddie Redmayne as ‘The Emcee’, Jessie Buckley as ‘Sally Bowles’ and Omari Douglas as ‘Cliff Bradshaw’.

The opening of the Kit Kat Club tonight completes the full reopening of the West End as the last major theatrical venue to open.

CABARET stars Eddie Redmayne as ‘The Emcee’, Jessie Buckley as ‘Sally Bowles’ Omari Douglas as ‘Cliff Bradshaw’, Liza Sadovy as ‘Fraulein Schneider’, Elliot Levey as ‘Herr Schultz’, Stewart Clarke as ‘Ernst Ludwig’ and Anna-Jane Casey as ‘Fraulein Kost’. The cast is completed by Josh Andrews, Emily Benjamin, Sally Frith, Matthew Gent, Emma Louise Jones, Ela Lisondra, Theo Maddix, Chris O’Mara, Daniel Perry, Andre Refig, Christopher Tendai, Bethany Terry, Lillie-Pearl Wildman and Sophie Maria Wojna.

www.kitkat.club

One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.

CABARET is directed by Rebecca Frecknall (the Almeida’s Olivier Award winning Summer and Smoke, The Duchess of Malfi, Three Sisters), set and costume design is by Tom Scutt (A Very Expensive Poison, Constellations, King Charles III, Jesus Christ Superstar, collaborations with Sam Smith, Christine and the Queens) with choreography by Julia Cheng (founder of the House of Absolute, Philharmonia Orchestra Artist in Residence, recipient of the runner-up prize for Hip Hop Dance futures, Resident Choreographer for the Royal Academy of Dance, Judge and mentor for BBC Young Dancer and Breakin’ Convention – the UK’s biggest Hip Hop Festival, collaborations with London Fashion Week, Google and Dr Martens). Musical supervision and direction is by Jennifer Whyte (Les Misérables film, Caroline Or Change, Parade). Lighting design is by Isabella Byrd (Heroes of the Fourth Turning and Light Shining in Buckinghamshire – both in New York, Daddy – A Melodrama at the Almeida and The Flick at the National theatre) with sound design by Nick Lidster (City of Angels, Passion, Pacific Overtures and Parade at the Donmar Warehouse, Sweeney Todd and On The Town for English National Opera, A Chorus Line, Les Misérables and Miss Saigon). The casting director is Stuart Burt (& Juliet, The Drifters Girl and 2021 CDG Award for Best Casting in Theatre for Cyrano De Bergerac) and the associate director is Jordan Fein. Angus MacRae is the Prologue composer. Fight direction is by Jonathan Holby. The dialect coach is Michaela Kennen and the voice coaches are Claire Underwood and Mark Meylan.

CABARET at the KIT KAT CLUB is produced by Ambassador Theatre Group Productions and Underbelly.

Cast and creatives announced for Corn Exchange
Newbury’s Christmas pantomime Cinderella
Friday 26th November 2021 – Sunday 2nd January 2022
Corn Exchange Newbury, Market Place, Newbury, RG14 5BD

Corn Exchange Newbury have announced the cast for Cinderella, its Christmassy pantomime which runs throughout the festive period. Helmed once again by comedy writing team Plested and Brown, Cinderella promises to be fun for all the family with plenty of jokes, songs from across the decades and lots of magic and sparkle!

Chloe Gentles (Mamma Mia!, Beautiful – The Carole King Musical), will play the title role of Cinderella, playing opposite William Beckerleg (Madagascar, Summer Holiday) as Prince Charming. Returning to the Corn Exchange after last year’s Aladdin, Susan Harrison (Showstopper! The Improvised Musical, Peter Pan Goes Wrong) is back to give audiences plenty of opportunities to boo and hiss as she plays one of the Stepsisters alongside Ali James (Showstopper! The Improvised Musical, Tell Me On A Sunday), and Justin Brett (Million Dollar Quartet) joins the company as Lady Barbara Hardup.

Jade Johnson (The Book of Mormon) will be spreading a little magic as the Fairy and Billy Roberts (Nativity the Musical) will play Prince Charming’s trusty servant. Completing the cast are Jordan Benjamin (Hairspray, London Coliseum) and Rachel Breeze (The Best of the West End).

Cinderella is written and directed by Plested and Brown, who are Clare Plested, Adam Brown and Amanda Wilsher. They have had Newbury audiences in stitches for the past two years with their fresh takes on the traditional pantomime stories Sleeping Beauty and Aladdin, whose run was sadly cut short last year but lived on as a filmed performance. Joining Plested and Brown in the creative team are musical supervisor Dai Watts (The Seeker), musical director Jordan Paul Clarke (Showstopper! The Improvised Musical), choreographer Holly Hughes (Sasha Regan’s All-Male Mikado) and designer Mark Walters (Glitter Pantomimes).

Katy Griffiths, Director of Corn Exchange Newbury, says Pantomime is such a magical time of year for everyone at the Corn Exchange. Plested & Brown have really pulled out all the stops this year, and with an incredible cast to match, I know that visitors of all ages are going to have a ball(!) with us at Cinderella this year.’

Plested and Brown, say, We have a confession… Cinderella is our favourite panto; let’s face it, it’s the godfather (or Fairy Godmother) of all pantomimes! We can’t wait for you to meet our Cinders and her terrible ‘influencer’ sisters; larger than life Lady Babs; the cheeky Deldini and ridiculously handsome Prince (who made a fantastic Newbury debut last year as Joe Wicks). Oh, and not forgetting the Mrs Hinch of the magical kingdom, Fairy Liquid. We’ve had so much fun bringing these characters to life and giving them some fantastic songs to sing – there’s hits for all the family – from The Descendants to Oasis!

We have gathered a magical cast for you who bring comedy, toe tapping songs and plenty of improv surprises! We’re delighted to be working with a fantastic cast including three members of the incredible improv show ‘Showstoppers! The Improvised Musical’ – if you haven’t seen it catch them on tour in the UK or West End. When working with improvisers anything can happen and each show will be unique as they get the audience involved and to create a truly once in a lifetime performance. You’ll be coming back for more!

We also have West End musical theatre performers from hit shows including Mamma Mia and Only Fools and Horses – so be prepared for big voices and big laughs. Come join the panto gang… the clock is ticking and there’s a magical Christmas party to get to!

Guildford Fringe Theatre Company announces the cast for its 10th Adult Panto 

Aladdin One Rub Too Many

at The Back Room of The Star Inn from 25 November – 31 December 2021

Guildford Fringe Theatre Company is celebrating its 10th professional Adult Panto this winter, with Aladdin One Rub Too Many playing the Back Room of the Star Inn, Guildford, from 25 November – 31 December 2021.

Announcing the cast (but without revealing their much naughtier character names in full…): Michael Pellman will play the title role of Aladdin with Dora Gee as Abanazar, Alice Mills as the Princess, Robert Rees as the Dame and Rachel Warrick-Clarke as Spirit of the Ring/Genie. They are joined by Megan Swaisland as Swing.

Aladdin One Rub Too Many the Adult Panto is written and co-directed by James Chalmers, co-directed and choreographed by Charlotte Wyschna and produced by Nick Wyschna – the creative team which was behind D!CK (2020), Pinocchio (Summer 2020) and Sinders (2019). It is cast by Denise Silvey and light and sound designed by Chris Elcocks.

James Chalmers, writer of Aladdin One Rub Too Many the Adult Panto, previously said: “I’m absolutely thrilled to be returning for a fifth outing writing the script for the Adult Panto – it truly is the highlight of my year (oh yes it is!). I have been very fortunate to have been connected to Guildford Fringe and the annual tradition of the Adult Panto since 2015. I feel very privileged to be part of a company of pathfinders that produced not only one but two Adult Pantos, both online and live, during the COVID crisis. Whilst it may not be a panacea, the incredible reaction to the shows proved that at a time like this the arts are vital for providing levity and light. Expect nothing less for Christmas 2021!”

Producer Nick Wyschna said: “We are back! Our yearly adult panto returns with a bang after well over a year which has been lacking in happiness! This is, without doubt, the highlight of my year, seeing audiences howl with laughter. Thankfully it isn’t just me and the team who are excited about the return of our naughty panto as we have already sold out 17 shows of the run with many other close to being full. Come on down for the smuttiest panto in the South!”

To book for Aladdin One Rub Too Many the Adult Panto, strictly for over 18s only, visit www.GuildfordFringe.com or telephone the Box Office on 01483 361101. Please note: Sunday 5 December at 5pm will be a socially distanced performance. All other performances will be sold at full capacity.

LISTINGS

Show: Aladdin One Rub Too Many the Adult Panto

Dates: 25 November – 31 December 2021. *Sunday 5 December @ 5pm will be a socially distanced performance. All other performances will be sold at full capacity.

Times: Varies – see website or call the Box Office

Running Time: 1 hour (no interval)

Venue address: The Back Room of The Star Inn, Quarry Street, Guildford GU1 3TY

Tickets: £19.50 including booking fees. Box Office: www.GuildfordFringe.com / 01483 361101

Category: Theatre, pantomimes, adults only, professional theatre

Age Guidance: strictly 18+ only

Access: There is no step-free access to the venue.

THEATRE ROYAL BRIGHTON IS HOSTING A GALA NIGHT ON 15 NOVEMBER TO CELEBRATE REOPENING AFTER 16 MONTHS AND TO THANKS ITS SUPPORTERS 

After 16 months of being closed, Theatre Royal Brighton is delighted to be safely welcoming its audiences back this Autumn, with a top line up of star-studded shows on the bill for the months ahead. To celebrate the milestone moment and to thank its supporters, the theatre is hosting a Gala Night on Monday 15 before the opening night show of the Olivier Award winning box office hit comedy The Play That Goes Wrong. 

THEATRE ROYAL BRIGHTON IS HOSTING A GALA NIGHT ON 15 NOVEMBER TO CELEBRATE REOPENING AFTER 16 MONTHS AND TO THANKS ITS SUPPORTERS 

After 16 months of being closed, Theatre Royal Brighton is delighted to be safely welcoming its audiences back this Autumn, with a top line up of star-studded shows on the bill for the months ahead. To celebrate the milestone moment and to thank its supporters, the theatre is hosting a Gala Night on Monday 15 November with a pre-show drinks reception before the opening night show of the Olivier Award winning box office hit comedy The Play That Goes Wrong. 

Theatre Royal Brighton’s Theatre Director John Baldock said: “Situated in the heart of Brighton’s cultural sector, our theatre, normally buzzing with life, stood dark for 496 days, the longest time in its history. So we are absolutely delighted to have our doors open again and what better way to celebrate than with a glittering gala night for The Play That Goes Wrong – a show that will delight our guests and leave them crying with laughter. We are so pleased to be safely welcoming our audience members back and doing what we do best – bringing the West End to Brighton.” 

Following three previously sold out tours, The Play That Goes Wrong, returns to Theatre Royal Brighton from Monday 15 – Saturday 20 November. The play features the (fictional) Cornley Drama Society who are putting on a 1920s murder mystery, ‘The Murder at Haversham Manor’, but as the title suggests, everything that can go wrong … does! As the accident prone thesps battle against all the odds to reach their final curtain call, hilarious results ensue! Winning multiple awards including the 2015 Olivier Award for Best New Comedy and a Tony Award for the Broadway transfer, The Play That Goes Wrong is now in its seventh year in the West End and has become a global phenomenon with productions in over 35 countries and across 6 continents. It has played to an audience of over two million worldwide.  

For more information about The Play That Goes Wrong and the forthcoming season at Theatre Royal Brighton, visit: www.atgtickets.com/brighton. 

THE LOWRY, SALFORD M50 3AZ – 10 NOVEMBER 2021

REVIEWED BY ANGELOS SPANTIDEAS

3***

Carmen, is an exciting opera that unlike other operas of its age is more realistic and takes a more mundane take on love and departs from rigid or overly romantic depictions of love and desire, fermenting the story in raw lust and mischief. Opera North’s take on Carmen puts the heroine in the middle of the spotlight, making her an irresistible character who does not shy away in the presence of the main male characters, Don José and Escamillo, who are both overflowing with classic masculine energy. While caring for her daughter, Carmen navigates working as an exotic dancer toying with the men’s desires and separating herself from the idea of a tame woman.

The story unfolds in an ever changing set that is fascinating and unravels in many layers with every inch of the stage very carefully and in great detail designed. Crystal E. Williams is brilliantly casted for the role of Carmen, from the moment she enters the stage on a swing wearing a pink satin leotard, to her scheming and plotting, she is oozing with sexyness and cunningness and every second she is on stage she is impossible to look away from. Her initial love interest Don José, played by Erin Caves, is easy to manipulate and mold to her liking with him ending up being madly and vehemently in love with her. Escamillo, played by Phillip Rhodes, is the typical flirtatious man who charms the audiences and Carmen but fails to protect her from her choices and ultimately herself.

Behaviours of male characters depict an older time especially when it comes to claiming the women, which is shown blatantly when Micaela enters the stage, where even though obviously pregnant she is approached crudely by the soldiers. Similar images take place many times on stage, which is showing an uncomfortable truth of what was acceptable at the time when the opera was written. Nevertheless, Carmen, and other female characters, are depicted as strong women who can stand their own ground, are assertive and make their decisions based on their own ambitions and motivations.

Although the show is very entertaining throughout, there are times when scenes are not executed in the most elegant manner. The use of cocaine creates a bit of an awkward frenzy with the actors almost choking themselves in it. Furthermore dance scenes seem to be disjointed and do not blend well with the rest of the story while at times it feels like the connections between characters are feeble.

Overall, giving a stunning performance, the cast does not miss a single opportunity to showcase their vocal precision with each song being beautifully accompanied by an exceptional orchestra. Although there are moments when the depiction of the story falls short, Carmen invites audiences to an escape filled with energetic and engaging performances, lively scenery and an all over captivating venture on this beloved opera.

Founders Hall, Chelsea – 13th November 2021

Reviewed by Fozia Munshi

4****

Set in Mexico in the 1990’s and sung in English this modern take on Bizet’s Carmen was entrancing from start to finish. With some hilarious moments to its gory denouement the show kept us transfixed. Watching Bizet’s Carmen in English was surprisingly engaging, removing the need to keep an eye on subtitles whilst trying to concentrate on the act on stage, it was easy to get lost in the performance.

And the performance had everything you’d expect of a modern-day version of Bizet’s Carmen, action, surprising comedic interludes (there was twerking), and denim a plenty to remind us we were in the 1990’s. From the moment Shakira Tsindos’s haughty, fickle, gypsy girl Carmen clad in denim hotpants, sang the famous aria ‘Love is a rebellious bird’ (l’amour est un oiseau rebelle) with attitude the tone of the Opera was set.

A special mention must go to Thomas Isherwood’s Escamillo, playing a famous footballer in this version of the Opera. His entrance and rendition of ‘Vivat, vivat le ‘Toréador’’ raised the roof, with his powerful baritone he would not be misplaced at the Royal Opera House, small wonder he seduces the fickle flirtatious Carmen out of the arms of Don José.

On the night we saw the performance Andrew Rawlings Don José was suffering from pharyngitis necessitating his performance be mimed whilst sung by a stand in. Resulting in a at times, a slightly disorienting effect when Don José was on one end of the room and the voice was singing from the other! But the venue was small enough for it not to matter so much, and the performers rallied around for it to be barely noticeable.

As an overall, if you get an opportunity to see a performance by Opera Loki, I’d urge you to seize it. The company is both a great introduction to the world of Opera in an accessible way but also surprisingly engaging for seasoned Opera fans more used to Glyndebourne. A great night out.

THE LOWRY, QUAYS THEATRE, SALFORD – UNTIL 13 NOVEMBER 2021

REVIEWED BY MIA BOWEN

4****

It’s New Years Eve in the 1960’s, a young woman sits silently at a wooden table in what we learn to be a police interrogation room. It soon transpires that she has information about a recently discovered body. The woman is Mina Harper (Riana Duce), a young lady who disappeared in 1905, yet the woman in the room is in her 20s, fresh faced and youthful. But why? We were soon to find out.

The play unfolds with only three characters on stage, Mina Harper and two interrogating officers, WPC Williams (Adela Rajnović) and DS Donaldson (Matt Prendergast). A simple stage set is suddenly transformed into a graphic novel, where three cameras capture the actor’s faces and translate them into line drawings that are projected onto the back screen. The use of this media, ingenious camera angles, simple props and green screens bring the novel to life most dramatically.

The three actors change characters seamlessly; with clever lighting, media use and slight costume changes to highlight different roles, the drama is cleverly told. The additional use of other languages (Italian, French, Spanish, Russian, German) interwoven in the script adds further emphasis to the plot.

The face paced story has clever twists and keeps the audience captivated throughout. The famous story of Dracula is known by most however this adaptation gives a new untold perspective.

Dracula, The Untold Story was performed in the smaller Quays Theatre situated within the Lowry Theatre complex. The smaller Victorian feel of this venue only added to the atmosphere of the story.

The Lowry theatre complex is situated right in the middle of the Salford Quays development. One of the many bars has impressive views of the Manchester Ship Canal, MediaCity UK and the Imperial War Museum North.

The Alexandra, Birmingham- until Sunday 14th November 2021

Reviewed by Amarjeet Singh

5*****

Bedknobs and Broomsticks had me bewitched from the go with its wordless exposition. I was drawn into Blitz Britain. The stage pulled apart with the sound of sirens, and with every sense alight I was taken on a train journey into Pepperinge Eye and then on into the wonderful world of imagination and pure eccentric joy. The simple but sumptuous sets seamlessly showed us the serendipitous meeting between the Rawlins children and the enigmatic and enchanting Miss Eglantine Price.

The plot sees three Rawlins children evacuated during the Blitz and placed in the care of Miss Eglantine Price, who happens to be learning witchcraft, remotely, through a renowned Professor, with hopes of using her spells in the war effort against the Nazi’s. Before she can complete her course, disaster strikes when the Professor sends news that the school has closed. The story then follows their adventures to find the Professor and the final spell which could change the course of history. Armed with an enchanted bedknob, a bewitched broomstick and a magical flying bed what could possibly go wrong?

Bedknobs and Broomsticks is based upon the books ‘The Magic Bedknob’ (1943), ‘Bonfires and Broomsticks’ (1947) and the Disney production, Bedknobs and Broomsticks (1971) with songs written by the Sherman Brothers, including ‘Portobello Road’, ‘The Age Of Not Believing’ and ‘The Beautiful Briny’. It also contains some new catchy and emotive songs by Neil Bartram. These, and the production, were brought to life by the dazzling sets that are indescribable. No elaborate special effects, just a mixture of lights, colours and a dream like fluidity as an ensemble of actors brought them on to the stage with dance like choreography. Endearing and beautiful like a child’s imagination, I was completely entranced, and I haven’t even got to the bed or the broomstick yet.

Without giving too much of the magic away, there is a land of no people, puppetry, flying shirts, battling suits of armour, a broomstick with a mind of its own, a pescatarian Lion, a glowing bedknob and oodles of spells, but they only work if you have absolute faith and truly believe. I have absolute faith that you will be as spellbound by this charming and heart-warming production of Bedknobs and Broomsticks as I was and I know that after the experience, there will be a part of you that will believe there is magic in the world. Treguna Mekoides Trecorum Satis Dee.