Further dates announced for Original Theatre Company and Octagon Theatre Bolton’s The Hound of the Baskervilles tour

Further dates announced for 

Original Theatre Company and Octagon Theatre Bolton’s 2021/22 tour of 

The Hound of the Baskervilles by Sir Arthur Conan Doyle 

Adapted for the stage by Steven Canny and John Nicholson for Peepolykus 

Directed by Tim Jackson  

Original Direction Lotte Wakeham 

Cast: Jake Ferretti, Serena Manteghi and Niall Ransome   

The award-winning Original Theatre Company and Octagon Theatre Bolton has announced further dates for the 2021/22 tour of Sir Arthur Conan Doyle’s most celebrated adventure, The Hound of the Baskervilles. Adapted for the stage by Steven Canny and John Nicholson for Peepolykus, in a production which was first performed at the Octagon Theatre in summer 2021, the classic detective tale gets a brilliantly farcical overhaul in Lotte Wakeham’s acclaimed production which is directed on tour by Tim Jackson

In 2022, the whodunnit for all ages will head to Theatre Royal Bath (25-29 January), The Lowry, Salford (1-5 February), Belgrade Theatre, Coventry (8-12 February), Perth Theatre (15-19 February) and His Majesty’s Theatre, Aberdeen (22-26 February).  

The production, which is currently garnering 5-star reviews on tour, will also visit the previously announced York Theatre Royal (19-23 October), Devonshire Park Theatre, Eastbourne (26-30 October), Richmond Theatre (2-6 November), The New Wolsey Theatre, Ipswich (9-13 November), Salisbury Playhouse (15-20 November) and Theatre Royal Nottingham (24-27 November). 

A hit in the West End, this ingenious adaptation combines an exhilarating collision of farce, theatrical invention and wonderfully comic performances to offer a brand-new twist on the greatest detective story of all time. 

Mr Holmes, they were the footprints of a gigantic hound… World-renowned detective Sherlock Holmes and his colleague Dr. Watson are asked to unravel the mystery surrounding the untimely death of Sir Charles Baskerville. With rumours of a cursed giant hound loose on the moors, they must act fast in order to save the Baskerville family’s last remaining heir. 

The cast of The Hound of the Baskervilles is Jake Ferretti (The Kitchen, The Curious Incident of the Dog in the Night TimeThe Understudy) as Sherlock Holmes, Serena Manteghi (Welcome To Iran, To Build a Rocket, Mrs Wilson) as Sir Henry and Niall Ransome as Dr. Watson (Mischief Movie NightThe Comedy About A Bank RobberyFcuk’d)

The UK Tour is directed by Tim Jackson (The Season, Royal & Derngate, New Wolsey, Treasure Island, Bolton Octagon). Original Direction is by Lotte Wakeham, Artistic Director of the Octagon Theatre Bolton who has directed sell-out productions in London, New York, and throughout the UK. Francesca Tennant is Assistant Director. The Designer is David Woodhead, Lighting Designer is Derek Anderson, Sound Designer is Andy Graham, Costume Supervisor is Chrissy Maddison and Production Manager is Tammy Rose. 

Lotte Wakeham previously said: “I’ve been blown away by the wonderful response to this production of The Hound of the Baskervilles; it’s been a real joy to have audiences back in the theatre, laughing uproariously every night. I’m absolutely thrilled to be teaming up with Original Theatre Company so that this production can now embark on a national tour and be enjoyed even more widely. I think it’s exactly the sort of joyful, energetic and entertaining show that audiences will be hungry for and I’m delighted to be sharing the Octagon’s work across the UK. Our top-notch cast and superb creative and technical team are raring to go, and we’re looking forward to giving our audiences a fantastic night out.” 

Alastair Whatley, Artistic Director of Original Theatre Company, said:“Audiences up and down the country have been enjoying Lotte and Tim’s wonderful production over the last few months on tour. We are thrilled that even more people all over the UK will now get to experience this ingenious adaptation of The Hound of The Baskervilles with this extension into 2022. After the year we’ve all had, the production is a tonic sure to make theatres buzz with the sound of laughter. ” 

For further information, visit the Original Theatre Company website: https://www.originaltheatre.com/our-productions/the-hound-of-the-baskervilles/about-the-show.  

THE GREATEST PREHISTORIC SHOW ON EARTH IS COMING TO A TOWN NEAR YOU!

THE GREATEST PREHISTORIC SHOW ON EARTH IS COMING TO A TOWN NEAR YOU!

RED Entertainment is thrilled to announce a brand-new show for 2022 – Dinosaur Adventure Live.

This awe-inspiring, thrilling family adventure plans to captivate both the young and young at heart. Dinosaur Adventure Live immerses audiences in an enchanting and realistic world of Dinosaurs.

Dinosaur Adventure Live allows you to journey to a world of living, breathing, life-like Dinosaurs. This brand-new ROAR-some adventure will take you on an unforgettable interactive journey through the Jurassic era, introducing you to some of the most incredible species that ever walked the Earth.

Feel the thrill of meeting real-life-like Dinosaurs and hearing the terrifying roar of a T-Rex. Learn about their history and even feed them but be careful – you might end up on the menu!

Dinosaur Adventure Live, a show that has been 65 million years in the making… Are you ready for the adventure?

Duration 1 hour – not interval.

Recommended Age 6+

Listings

MARCH 2022

Friday 05 – Saturday 06 March 2022 – Swan Theatre, Worcester

Saturday 26 March 2022 – Harlequin Theatre, Redhill

APRIL 2022

Sunday 03 April 2022 – Regent, Ipswich

Monday 04 April 2022 – Beck Theatre, Hayes

Tuesday 05 April 2022 – The Woodville, Gravesend

Wednesday 06 April 2022 – Camberley Theatre, Camberley

Thursday 07 April 2022 – Corn Exchange Hall, Stamford

Sunday 10 April 2022 – Grand, Lancaster

Monday 11 April 2022 – Playhouse, Whitley Bay

Wednesday 13 April 2022 – Walsall Arena and Arts Centre, Walsall

Thursday 14 April 2022 – Albany Theatre, Coventry

Saturday 16 April 2022 – Grove Theatre, Dunstable

Sunday 17 April 2022 – Pavilion Theatre, Weymouth

Monday 18 April 2022 – Bedford Corn Exchange, Bedford

Tuesday 19 – Wednesday 20 April 2022 – Royal Spa Centre, Leamington

Thursday 21 April 2022 – Victoria Theatre, Halifax

Friday 22 April – Sunday 24 April 2022 – Middleton Arena, Middleton

MAY 2022

Saturday 28 May 2022 – The Muni Theatre, Colne

Sunday 29 May 2022 – Lyceum Theatre, Crewe

Monday 30 May 2022 – Tuesday 31 May 2022 – Cheltenham Town Hall, Cheltenham

JUNE 2022

Wednesday 01 June 2022 – Watersmeet, Rickmansworth

Thursday 02 June 2022 – Landmark Theatre, Ilfracombe

AUGUST 2022

Thursday 04 August 2022 – Aberdeen Arts Centre, Aberdeen

Friday 05 August 2022 – Empire, Consett

Saturday 06 August 2022 – The Forum, Northallerton

Sunday 07 August 2022 – Albert Halls, Bolton

Monday 08 August 2022 – Northwich Memorial Court, Northwich

Tuesday 09 August 2022 – Ellesmere Port Civic Hall, Ellesmere Port

Saturday 13 – Sunday 14 August 2022 – South Mill Arts, Bishop’s Stortford

Tuesday 16 – Wednesday 17 August 2022 – Brangwyn Hall, Swansea

Thursday 18 August 2022 – Pavilion Theatre, Exmouth

Friday 19 August 2022 – Babbacombe Theatre, Babbacombe

Saturday 20 – Sunday 21 August 2022 – Kings Theatre, Portsmouth

Tuesday 23 – Wednesday 24 August 2022 – Roses Theatre, Tewkesbury

Thursday 25 – Friday 26 August 2022 – The Stiwt, Wrexham

Saturday 27 August 2022 – The Brindley Theatre, Runcorn

Sunday 28 August 2022 – Prince Of Wales Centre, Cannock

Monday 29 August 2022 – Garrick Playhouse, Altrincham

OCTOBER 2022

Saturday 22 October 2022 – The Central, Chatham

Monday 24 October 2022 – Dorking Halls, Dorking

Tuesday 25 October 2022 – Lighthouse, Kettering

Wednesday 26 October 2022 – Cresset, Peterborough

Thursday 27 October 2022 – Bridlington Spa, Bridlington

Saturday 29 October 2022 – Forum Theatre, Billingham

Sunday 30 October 2022 – Towngate Theatre, Basildon

Being Mr Wickham Review

York Theatre Royal – 14 October 2021

Reviewed by Michelle Richardson

5*****

Co-written by Adrian Lukis and Catherine Curzon, Being Mr Wickham, tells the story of Wickham 25+ years after the unforgettable 1995 BBC adaptation of Jane Austen’s Pride and Prejudice. Lukis is revisiting his role, reminiscing on his past and filling us in on what has occurred in the intervening years. Has the rogue changed since we last saw him?

He has been out celebrating his 60th birthday, but has infuriated his wife Lydia, yes, their marriage has stood the test of time, with his forever wandering eye. He has been locked out of their bedroom and settles down with a glass of wine as he engages the audience.

This story sees him living in lesser circumstances, probably outside of London, after flittering his money away. We can only imagine what he does a living now. He regales us with stories of Waterloo, the Bennetts, Pemberley and of course Darcy. He admits to his disgraceful behaviour in the past, and may not be wholly respectable, but his lust for life, charm, and wit shine through.

After a short interval there was a question-and-answer session, make sure you do stay behind for this. Lukis comes back on stage, after a quick change of clothing, and freely answers questions thrown at him, including what he was really drinking, which was the talk around us during the interval. There were more interesting questions, and it was fascinating hearing Lukis’s thoughts on alternate character avenues and the thought process in creating this new piece of work. My companion for the evening never goes to the theatre, she never sits still long enough, but she really enjoyed the show, opting to stay behind for the Q&A, thankfully we did, and even asking a question.

This is a one man show, and though we hear Lydia behind closed doors we never set eyes on her. At only an hour long the time just flew past, gone far too quickly, enthralling from start to finish.

Answering my original question, has Wickham changed? Maybe, maybe not, I would say that he’s definitely mellowed but he still has that wicked glint in his eye, and you can’t teach an old dog new tricks. Afterall would you rather a night out with the rakish Wickham or the staid Darcy?

IN THE WINGS SERIES 3 – HIT SERIES SEEN BY OVER 100,000 RETURNS

‘IN THE WINGS’ RETURNS FOR A THIRD SERIES

Hugely-successful new British musical series is back with live performances by West End performers and emerging artists.

Following on from the success of the first and second series,In the Wings is returning in October for a third series. In the Wings is a series of filmed human interest interviews with composers, writers, and creatives of musical theatre productions. The series takes a focused look at a variety of new musical theatre writing, and provides a platform for creatives to present their work to a wide audience.

Series Three will air weekly from Friday, October 22nd at 7.30pm on the In the Wings YouTube Channel. The series is free to watch on-demand indefinitely with musical direction by Henry Brennan, visual design by Justin Williams, and casting by Kelly Everitt

The third series features six shows: AmélioreDeptford Wives, Fiver, Reality Bites: The Interactive MusicalThe Red Side of the Moon, and Tarrytown. As the theatre industry reopens, this series will look to the future of theatre beyond the shutdown. Michael Auger will interview creatives from each of the shows, discussing their work, inspiration, and the future of their productions. 

Each episode also includes variety of performances of songs from those shows, as well as already known musicals. The West End cast is made up of Emma Lindars (Groundhog DayMade in Dagenham), Nikita Johal (Broken WingsWhat the Ladybird Heard), and Cleve September (Hamilton, Jesus Christ Superstar).

Weekly, episodes also feature a number of performances by 2021 Graduates from MT colleges across the U.K. The graduate cast is made up of Naomi Alade (London College of Music),  Anna Amelia (Royal Conservatoire of Scotland), Olivia Brookes (ArtsEd), Owen Clayton (ArtsEd), Georgia Dixon (Italia Conti), and Sydnie Hocknell (ArtsEd).

The band for the third series is made up of Henry Brennan (Keys/MD), Leon Stenning (Guitars), Mark Fincham (Bass Guitar), and Nick Anderson (Drums).

With the addition of the third series, ‘In the Wings’ will have championed sixteen new musicals, and provided showcasing opportunities for eleven west end performers, and twelve new musical theatre graduate performers. The series has gathered over 100,000 views on YouTube, with an average of 11,000 viewers tuning in weekly to watch each episode.

The first series of In the Wingsaired during the U.K.’s first lockdown in June, 2020, and consisted of four episodes, with a core ‘cast’ of four performers and an interviewer, supported by a live three-piece band. The performers had one slot on each episode to perform a song; These slots were interspersed with the interview, which discussed their show, the industry shutdown, how it had affected the interviewee and their show, etc. The first series focused on No Limits: A Song Cycle, Legends of Arahma, Gretel!: The Musical, and Dorian: A Rock Musical.

The second series of In the Wingsaired in September and October of 2020, and consisted of six episodes, with a larger cast than the first series. Four West End professionals were joined by emerging artists from the 2020 Graduate pool from various musical theatre colleges across the UK. Featured in the second series were The Wicker Husband, You and I, Millennials, Terror at the Sweetshop, Plan Bea, and The Rise. Interviews in this series focused less on the initial industry shutdown, and looked at how the industry had begun to adapt to a new normal.

In the Wings can be found on Facebook, twitter, instagram, and YouTube at /inthewingslive. Head to YouTube.com/InTheWingsLive

Tarrytown, with Adam Wachter – October 22nd

Adam Wachter’s original musical “Tarrytown” is a contemporary story loosely based on Washington Irving’s story “The Legend of Sleepy Hollow”. A finalist for the Richard Rodgers Award and winner of the Craig Noel Award for Best New Musical, “Tarrytown” is a funny, tuneful, intense, and romantic 90- minute musical for three singing actors. 

Book, music, and lyrics by Adam Wachter

Deptford Wives, with Anthony Kosky and Tania Azevedo – October 29th

Deptford Wives tells the remarkable true story of Mary Lacy, the female shipwright. 

In 1773, Mary Lacy, a poor girl from Kent facing a lifetime as a domestic servant, ran away from home, disguised herself as a man, and joined the British Navy. 

She became an apprentice shipwright, but when her gender was revealed, she was expelled from the Navy, leaving her to find her identity as a woman in a man’s world. 

Mary went on to become an architect and builder, building a row of houses now known as Deptford High Street, found time to write her memoirs and was the first woman to be granted a pension from the British Admiralty. 

This musical explores the passionate love affair between Mary and her soon-to-be ‘wife’, Elizabeth Slade and how the impossible became possible. 

Original book by Jennie Buckman, book and lyrics by Nikki Racklin, music by Anthony Kosky, with additional music and lyrics by Daniel Jarvis. Concept and adaptation by Tania Azevedo

Fiver, with Alex James Ellison – November 5th

FIVER, follows the story of a humble five pound note as it passes through the hands and pockets of people in London. Often unnoticed and obviously unaware, the fiver is present for significant moments of connection in each person’s life – whether it be an appreciation of their skills as a street performer; the start or end of a relationship; or the simple realisation that they can afford a bed for the night. 

This beautifully crafted series of musical vignettes explores the value of money, relationships between people, and the relationships between people and their money. In a world where connection has been lacking, the show uses a five pound note to emphasise the importance of connection between ordinary people. 

The diverse characters in FIVER are explored through a broad variety of musical styles as we follow our unusual hero through the ups and down of what is – to a fiver – just a normal day. 

Book, music and lyrics by Alex James Ellison

The Red Side Of The Moon, with Kathryn Tindall and Zoe Woodruff – November 12th

The Red Side Of The Moon is the story of two young women in the early 00’s who meet at an open mic night and connect through their music. And as the world is falling in love with them and their music, they are falling in love with each other. When their management team find out, they have a difficult choice to make, stay together or stay in the public eye and chase their dreams. It is a queer folk inspired musical, that focuses on love, friendship, the pressures of fame on women and whether it is ever okay to be queer and in the spotlight. 

Music and lyrics by Kathryn Tindall, book by Zoe Woodruff

Reality Bites: The Interactive Musical, with Dave Payne and Aron Sood – November 19th

Nine ‘celebrities’ enter Purgatory — the newest and biggest reality TV show on the planet. Nine strangers, plucked from a world of instant, tenuous fame who will do anything to achieve true icon status, the public’s affection and the chance to extend their fifteen minutes. But who will ascend to the heavenly heights of worldwide notoriety and who will plunge into Z list obscurity hell?

Reality Bites: The Interactive Musical is a satirical and hilarious romp through an iconic genre. With nods to classic shows such as Big Brother, Love Island, and Drag Race, a glimpse into the dark side of fame, a truly modern love story, an interactive twist that gives YOU the power to banish a contestant, four alternative second acts and loads of popular culture Easter eggs to find, Reality Bites is not just a musical — it’s an experience that can be enjoyed again and again. 

Book and Lyrics by Dave Payne, music and additional lyrics by Aron Sood, orchestrations by Will Tuckwell

Améliore, with Melissa Boyce-Hurd and Matteo Ressa – November 26th

Améliore follows the journey of Amelia in the emotional aftermath of her best friend’s wedding. Tormented by her own past failed relationships and dwindling job prospects, she battles with her ever-worsening mental health as she desperately tries to build a future that her mother will be proud of. 

Améliore prides itself on starring a 3-dimensional, queer, POC character whose story isn’t defined purely by their race or sexuality. 

While charismatic, Amelia is far from perfect, and her journey is fraught with disappointments and traumas that threaten to dim her light. But she will build from her pain rather than wallow in it, and she will get better. 

Music, lyrics, and book by Melissa Boyce-Hurd, score and orchestrations by Matteo Ressa

In the Wings can be found on Facebook, twitter, instagram, and YouTube at /inthewingslive. Head to YouTube.com/InTheWingsLive

Bernstein Double Bill: Trouble in Tahiti/West Side Story Symphonic Dances Review

Leeds Grand Theatre – until 30 October 2021

Reviewed by Dawn Smallwood

4****

Opera North in collaboration with Phoenix Dance Theatre is currently presenting Bernstein’s Double Bill: Trouble in Tahiti and West Side Story Symphonic Dances. The programme opens with Trouble in Tahiti, a seven-scene opera, and is set to the composer’s lyrics. It is about a typical suburbia American family having “it all” and with a generic claim that they are all living “the American dream”.

However, looking closely, it isn’t what it appears with cracks in the marriage which is intensified with boredom, delusion and dissolutions. Both Quirijn de Lang and Sandra Piques Eddy, who portray the couple, Sam and Dinah, express and questions emotively and eloquently their problems and struggles throughout. One can think of the issues around patriarchy and matriarchy particularly gender roles in family and society.

The production is excellently staged with direction from Matthew Eberhardt and conducted by Antony Hermus. The staging, by the creative team, is excellent particularly its life size promotion of the adverts depicting the needs of a typical suburbia American family. Trouble in Tahiti has that perfect appearance until one looks closer then realises that it’s somewhat different and Bernstein maybe is encouraging for all to see it in different perspectives.

After the interval, there is a 10-minute dance interlude, Halfway and Beyond, set to Khadijah Ibrahim’s spoken word and choreographed by Dane Hurst. Evocative and provocative movers are performed by the very talented dancers from the Phoenix Dance Theatre. This is a taste of what is about to come and audiences are encouraged to reflect on the decisions and actions.

West Side Story Symphonics Dances follow and is set to Bernstein’s musical score of West Side Story. It is set in South Africa in the 1950s and 1960s where Apartheid reigned and the community attempts to live in unity is only suppressed and undone by the Apartheid’s Government laws particularly their control in line with the Pass Laws Act and Group Area Acts.

The dances through movement explore the challenges the community face with its emotions and complications of what is set around them in the face of adversity and tragedy. The excellent dance production is very thought provoking and is eventually expressed with a variety of movements which are coordinated and choreographed by Dane Hurst, the company’s new Artistic Director with support from the excellent dancers.

Both Opera North and Phoenix Dance Theatre have done the three productions proud and offer a lot to think about how one sees the life in the world from a variety of perspectives. It is evident that there are challenges ahead and one needs to continue to keep rethinking and revisiting if yearning for a more belonging and unity.

Bernstein Double Bill is an excellent programme with a lot to offer ”from the “heart”.

This Island’s Mine Review

Theatr Clwyd, Mold – Saturday 16 October 2021

Reviewed by Julie Noller

4****

Theatre is rolling and doing what theatre does best; it’s entertaining and educating. This Island’s Mine is a small intimate affair, perfectly suited for its small set. An audience of under 30 patrons many of Primary School age. The concept may well be lost if the audience was too large, thanks in equal measures to the covid rulings for those small groups.

Interesting facts first, Roustabout the Bristol based theatre company who in early 2020 worked with 195 primary and secondary school pupils. They combined the thoughts and opinions of those pupils along with history in the form of William Shakespeare s The Tempest. This Island’s Mine explores issues from colonialism to identity. Right from the start you are encouraged to believe nothing, question everything.

Written and Directed by winner of the Distinguished Play Award, Tony Hulse.

Only 3 cast memembers increases the intimacy, making the message easy to follow. I think it’s apt to use message rather than storyline.

Robin Hemmings is Caliban who was born here

Kesty Morrison is Ariel who has always been here

And Eleanor Pead is Stephano who has just arrived and loves the word civilisation.

The reason I gave 4 stars? It’s brilliantly written, funny with great musical numbers maybe not in terms of big stage but each carries a message and gives us a break to collect our thoughts. Speaking of thoughts it is clever in the way you can predict whats happening, yet shows us all for our lack of empathy for strangers, manipulation is a trait that comes easily to most of us, much to our shame. There’s many questions we leave pondering. Such as; who truly owns an item? If I own a pen then it’s mine but if I lose the pen and someone else finds it then is it now thiers?

My understanding on each of the characters, Ariel is Mother Earth, every fable, every fear or belief she is the representaion of our inner most being.

Caliban is the peaceful local who knowing no differently leads a happy life of existence. Then along comes the newcomer on one hand the bringer of revolution and civilisation. New technology changes Island life. Stephano the manipulator, uses his so called knowledge to self proclaim his intelligence over the stupid Caliban. But then wait Caliban simple life lover blurts out that Stephano is not local, shouldn’t be on the island and should go back to Italy. Ugly words we have all heard yet somewhat hard to swallow seeing them acted out this way. This argument you wonder how those under 10 will react, what is their understanding? If This Island’s Mine is used as a tool to help parents and teachers to raise and discuss these issues then Toby should be very proud.

It’s not all thought provoking there is fun, watching children jump as a scary figure, manifestation of a boggy man or simply Ariel in mask and some crutches might have made me smile but you have to ask could it be toned down for the mostly young audience? Or watch a young girl trying to lick her elbow, which I feel much bring much satisfaction to our 3 actors. Children watching are able to move about freely if they wish. Snacks are plentiful. More importantly like the many voices expressing their beginnings, their belonging. I truly pondered Who I Am? Where have I come from and just what and where do I call home. My answers may well be different to yours but that doesn’t make them wrong or even right. It makes me unique, it makes me… well me

Candoco Dance Company presents Set and Reset/Reset (Trisha Brown) & Last Shelter (Jeanine Durning)” Review

Sadler’s Wells, London – until 16 October 2021

Reviewed by Celia Armand Smith

5*****

The Candoco Dance company is at Sadler’s Wells for two nights in a thrilling return to the stage post pandemic. The first piece is Set and Reset/Reset, originally choreographed nearly 40 years ago by contemporary dance pioneer Trisha Brown and reworked or “reset” by Abigail Jager and the dancers at Candoco. The second piece is Last Shelter by Jeanine Durning, created during the pandemic. The dancers, disabled and non disabled, poetically move together, utilising every single part of their bodies.

Set and Reset/Reset is an exploration of space and movement, questioning the limits and possibilities of dance. Scored by Laurie Anderson, the sounds are jarring and paced with twists and turns. Huge movements that halt and start up again, moving between conversation and recital as the dancers fall in and out of synchronicity. The performers are always present, even when waiting in the wings behind sheer drapes, blurring the lines between visibility and invisibility in this simple and hypnotic dance.

Last Shelter utilises time and space to create an always shifting environment that captivates immediately. It starts out with no traditional score, rather the sounds of the dancers moving across the stage with various props, which soon become extensions of the human body. Stacked, placed, and organised, the tables and chairs and mics are moved around, as the performers utilise what seems like every piece of the stage. Every bit of air. There is a mic that is passed between each dancer throughout the performance as they improvise spoken word, taking up space and finding meaning in that moment.

The performers move with such fluidity yet precision in this complex and joyful celebration of the capabilities of the human body and the spaces we inhabit. At no point during Set and Reset/Reset and Last Shelter did my mind wander. These pieces of dance were mesmerising, letting the viewer question time, space, movement along with the dancers.

The Tiger Who Came to Tea Review

New Victoria Theatre Woking – until Sunday 17 October 2021  

Reviewed by Carly Burlinge  

5***** 

The Tiger Who Came to Tea the amazing book that we all know written by Judith Kerr has come alive, adapted and directed by David Wood. 

The Story of a family that when Dad goes to work the day ticks by with many visitors such as the Milkman the Postman, until The Tiger Comes to Tea!  

The first thing that I loved about this production was that the set was beautifully done and exactly like the book, that we all know and have read to our children a million times over! 

The cast gave a fantastic performance, was very enthusiastic and had the best interaction especially with the children. To be honest I had so much enjoyment watching all the children be so engaged with the cast at all times, that it put a massive smile on my face throughout. 

The dad (David Scotland) who played many parts including the Milkman, Postman and Tiger played all characters skilfully, especially with his first appearance of being the tiger and hiding from his cast members and asking the children “is someone there” with the children screaming “YES THE TIGER IS THERE”. 

Sophie (Abbey Norman) and Mummy (Lizzie Dewar) also offered great interaction and a fabulous performance that every child in the theatre loved to the full with great delight. 

Then there was more… some fabulous singing that had the whole audience joining in (including parents) and at one point the little boy sitting behind me roared on request so loud that he made me jump, showing me just how much enjoyment was had. 

I felt the need to ask my daughter at the end of the show how many stars she would rate it. She straight away replied 5***** and so that’s what it deserved. Because to be fair this show is all about the kids and the amusement for us parents, is just to see those lovely smiles on their faces which for me was the whole theatre! What a lovely uncomplicated, encouraging, fun performance to make our little ones happy. 

Death Drop Review

The Lowry, Salford – until 16 October 2021

Reviewed by Angelos Spantideas

4****

Drag queens, Drag kings, tons of physical comedy and one of this season’s most fabulous cast, that is Death Drop. It is well known, especially in queer culture the impact the Drag scene makes in arts, but seeing something so clever, written by the hilarious Holly Stars, on big stages shows why drag is a timeless art that cannot be contained and is here to stay in mainstream entertainment. With some of the most famous queens and kings in the industry right now Death Drop exceeds expectations and for 2 hours no joke is off limits which ensures chaos and endless laughter.

The story is set in 1991, at the mansion of Lady von Fistenburg located at the Tuck Island, where a collective of famous, and not so famous, personalities are invited to celebrate the 10th wedding anniversary of Prince Charles and Princess Dianna. The mystery behind the identity of Lady von Fistenburg and the stormy personalities of the guests fill the stage, exuding camp, from the staging, to the lights and the costumes. As the guests get trapped on the island due to a heavy storm, a murder unfolds and the stars embarg on the investigation of who is the murderer while the clock is ticking under the next murder happens! Will they be successful or will they find a tragic, yet absurd and ridiculous death?

With so many big personalities, it is incredible how each member of the cast, some already well known from competing for RuPaul’s Drag Race crown, does not fail to shine in their own right. Coming all the way from the US, actor veteran and alumna of the main season of Drag Race Willam and finalist of All Stars Season 6 Ra’Ja O’Hara captivate the audience with their acting and their multiple costume changes playing the two main characters of forgotten pop star Shazza, and weather girl Summer Raines correspondingly.

British Ru girl Vinegar Strokes playing the role of Lady von Fistenburg puts on an amazing show, acting and singing flawlessly, and Aussie Ru girl Karen From Finance embodies the part of the nosy and arrogant journalist Morgan Pierce. The two Drag Kings Georgia Frost, as Phil Maker,and Richard Energy, as Rich Witeman,both physical comedy geniuses, stand as proof that Drag is really a gender bending and rule defying art. The cast is completed by Holly Stars, playing not one, not two, by the three Bottomley Sisters and the audience cannot get enough of her piercing humour which in many occasions needs no script allowing for lots of improvisation.

From the costumes to the acting and the singing, Death Drop is a well crafted, fun filled comedy with the characters going through a parody of events that will make even the most serious laughing their head off, much needed now more than ever.

Rice Review

Orange Tree Theatre – until 13 November 2021 

Reviewed by Carly Burlinge 

4**** 

Credit and copyright: Helen Murray

Written By Michelle Lee – Rice is the story of Nisha (Zainab Hasan) a young ambitious business orientated executive worker who works for golden fields. A company that is the largest producer of rice in Australia. Her dreams are to become the first CEO in Australia as a woman. She is surrounded by powerful men in the office and feels undermined at times, she always puts in the hours to gain her success but struggles with making herself heard. On the other side of things, she also has a lot weighing on her mind regarding her home life and situations, she’s currently involved in a contract that could see her make millions!! 

On her late shifts she encounters the cleaner an older Chinese lady called Yvette (Sarah Lam) who cleans her office and has no problems in voicing her opinion about what annoys her and how things should be done! Yvette has her own struggles in life is a failed entrepreneur and also has many issues in her private life and although the relationship seems hostile at first. They start to begin and realise that their worlds are not so completely different after all and that maybe they are fighting for the same thing.  

Both actresses played many different roles within the play, their switches were very dramatised but done with brilliance and ease throughout. The dynamics between them was impressive, remarkable and outstanding to watch throughout. 

This production was an interesting one to watch as well as enjoyable with a lot to offer.