This fabulous musical revolves around the struggle of a 16 year old boy who is faced with a fear of growing up and feeling confused where he fits in. The build up to the year 11 leavers’ prom demonstrates a variety of backgrounds, not just Jamie New wearing a dress for prom. It’s much more than that. This makes this production much more relatable for any audience member.
This true story, based on a 2011 documentary really does make you think of your own journeys through life. Especially through songs such as “Wall In My Head”, “If I Met Myself Again” and “He’s My Boy”. These beautiful songs have such a deeper meaning to anything I have ever heard of before. Maybe it’s thanks to Amy Ellen Richardson for her outstanding performance of Margaret, Jamie’s mum? Maybe it’s thanks to the composer and songwriter? Or both? Either way the tears start!
Putting the emotional blubbery to the side, I need to add how fabulous this production really is! The ensemble makes this musical much more relatable as it takes you back to how you felt when at school. The “it” girls, the “Nerd” who is genuinely a lovely person who is clearly going to do well in life! The one teacher who you struggle with. I remember the “Dean” in my class…. The ensemble brought Sheffield on stage, their accent was on point and their dance technique was floorless. We can’t forget Mr George Sampson of course when it comes to dancing. However, the ensemble did match him, which is what we want!
The cast was a perfect match with recognisable stars such as Shane Richie as Loco Chanelle. He really does pull off a dress! Shobna Gulati as Ray. Shobna brought hilarity and realism to this role. I’m sure we all have an Aunty Ray in the family. George Sampson as Dean and Layton Williams playing the role of Jamie. Layton was perfectly cast for this role. My expectations were to refer to his role from Bad Education; however , I’m so pleased he brought realism, sassiness and love to this character. The legs on him are fantastic!
Referring to Jamie’s journey to becoming a drag queen and attending prom, Layton Williams’ performance throughout is like a roller-coaster with lots of highs and lows. As much as the emotional value is strong throughout, the comedy value is constantly there which is a perfect amount to keep on track with the story. The set was minimal but very clever with use of tracks and school tables creating a lit up wall and projection to give a bit more detail to the setting of each scene. The lighting design gives this musical a much more vogue feel with its artistic ways, especially during “Don’t Even Know It” and “Work Of Art”.
The messages throughout, particularly acceptance, relationships within the family and growing up pull you into this musical which makes you forget you are watching something on stage. It has been an absolute joy to experience this musical as one of the firsts after returning to the theatre and what a pleasure to share this at Leeds Grand Theatre. Thanks for our “ice cream in a tiny tub, with a built in spoon” what a bonus!
RUBEN ÖSTLUND’S AWARD-WINNING COMEDY FILM FORCE MAJEURE
WithLove and Other Acts of Violencecurrently running at the theatre, following the completion of essential building works, Michael Longhurst, Artistic Director, and Henny Finch, Executive Director of the Donmar Warehouse, today announce the full cast for Tim Price’snew stage adaptation of Ruben Östlund’s award-winning comedy film Force Majeure. Joining the previously announced RoryKinnear (Tomas) is Nathalie Armin (Charlotte), Holly Cattle (Female Skier), Raffaello Degruttola (Photographer/Man/Cleaner), Siena Kelly (Jenny), Lyndsey Marshal (Ebba), Kwami Odoom (Brady/Male Skier), Sule Rimi (Mats) and Arthur Wilson (Receptionist). Bo Bragason and Florence Hunt share the role of Vera, and Henry Hunt and Oliver Savell share the role of Harry. The production, directed by Longhurst, opens on 16 December, with previews from 10 December, and runs until 5 February 2021.
The season continues with Kit Harington starring in Shakespeare’s Henry V, directed by Donmar Associate Director Max Webster, 11 February – 9 April 2022; and concluding withMarys Seacole byJackie Sibblies Drury, and directed by Nadia Latif, 15 April – 4 June 2022.
Donmar Warehouse presents
The World Première of
FORCE MAJEURE
From the film by Ruben Östlund
Adapted for the stage by Tim Price
Director: Michael Longhurst; Designer: Jon Bausor; Lighting Designer: Lucy Carter
Sound Designer: Donato Wharton; Movement Director: Sasha Milavic Davies
Casting Director: Anna Cooper CDG
10 December 2021 – 5 February 2022
“Stop it. Stop it! Everyone! We’re on holiday, we’re meant to be having a nice time. What the hell is wrong with you?”
Tomas and Ebba are determined to have quality family time with their children, so they head to the Alps on a skiing trip.
But when disaster strikes, their family unit is tested to breaking point with hilarious and tragic consequences.
Ruben Östlund’s award-winning comedy premièred at Cannes Film Festival in 2014, where it won the Jury Prize. In the Swedish Film Institute’s Guldbagge Awards it won six awards including Best Film, and was nominated for Best Foreign Language Film at the 72nd Golden Globe Awards.
Tim Price is a playwright and screenwriter. His previous credits for the company include Salt Root and Roe. His other credits include Isla (Royal Court Theatre/Theatr Clwyd), How To Ruin Someone’s Life From The Comfort of Your Own Beanbag and Demos (Traverse Theatre), I’m With the Band (Traverse Theatre/Wales Millennium Centre), Elevenses (Somerset House), The Insatiable and Inflatable Candylion (National Theatre Wales), Teh Internet is Serious Business (Royal Court Theatre), Protest Song (National Theatre), Praxis Makes Perfect (National Theatre Wales/Barbican tour), The Radicalisation of Bradley Manning – winner of the James Tait Black Prize (National Theatre Wales) and For Once (Pentabus Theatre/Hampstead Theatre).
Nathalie Armin plays Charlotte. Her theatre credits include Ralegh: The Treason Trial (Shakespeare’s Globe), Machinal (Almeida Theatre), Limehouse (Donmar Warehouse), Another World: Losing Our Children to Islamic State, The Motherf**ker with the Hat, Dara, Behind the Beautiful Forevers, Anna (National Theatre), The Complaint (Hampstead Theatre), On the Record (Arcola Theatre), The Tempest (Barbican) and Arabian Nights and Othello (RSC). Her television credits include Home, Marcella, Unforgotten, Humans, Derailed, William and Mary and The Jury; and for film, Final Score, Denial and Grow Your Own.
Bo Bragason plays Vera. Her television credits include Creeped Out, Moving On and Three Girls, and for film, Censor.
Holly Cattle makes her professional stage debut as Female Skier.
Raffaello Degruttola plays Photographer/Man/Cleaner. His theatre credits include The Talented Mr. Ripley (Watford Palace Theatre). His television credits Ted Lasso, Avenue 5, Jabberwock, Drop Dead Gorgeous, Thief Takers and Press Gang; and for film, Transference: A Love Story, The Hustle, Burning Men, Mute, Unlocked, Heartbeat, Guns for Hire, Seeking Dolly Parton, Blood Moon, Flim: The Movie, Diana, Rush, MoniKa, West of Thunder, Quantum of Solace, Sasquatch Mountain, House of 9, Dot.Kill, Wing Commander, Saving Private Ryan and In Love and War.
Florence Hunt plays Vera. Her theatre credits include Chitty Chitty Bang Bang (UK tour) and Sleeping Beauty (Lichfield Garrick). Her television credits include Bridgerton and Cursed.
Henry Hunt plays Harry. His theatre credits include Handle With Care (Dante or Die). His television includes Ridley Road; and for film, Letters From The Blue and Bump.
Rory Kinnear returns to the Donmar Warehouse to playTomas – he previously appeared in Mary Stuart. Other theatre includes Macbeth, Threepenny Opera, Othello – Olivier Award for Best Actor and Evening Standard Award for Best Actor, The Last of the Hausmans, Hamlet – Evening Standard Award for Best Actor, Burnt By The Sun, The Revenger’s Tragedy, Philistines – Ian Charleson Award, Man of the Mode – Olivier Award for Best Supporting Actor, Southwark Fair (National Theatre), Young Marx (Bridge Theatre), Measure For Measure (Almeida Theatre – Evening Standard Award for Best Actor), Hamlet (The Old Vic), Cymbeline, The Taming of the Shrew (RSC), The Tempest (Theatre Royal Plymouth) and The Seagull (Theatre Royal Northampton). His television credits includeRidley Road, Penny Dreadful: City of Angels, Years and Years, Catherine the Great, Brexit, Watership Down, Guerrilla, Quacks, The Casual Vacancy, Lucan, Count Arthur Strong, Southcliffe, Edwin Drood, Lennon Naked, The First Men in the Moon, Vexed, The Curse of Steptoe, Messiah: The Rapture, Margaret Thatcher: The Long Walk to Finchley, Mansfield Park and Five Days; and for film, No Time To Die, Peterloo, iBoy, Spectre, Trespass Against Us, Man Up, The Imitation Game, Cuban Fury, Skyfall, Broken – British Independent Film Award for Best Supporting Actor, Wild Target and Quantum of Solace.
Siena Kelly returns to the Donmar Warehouse to play Jenny – she previously appeared in Teenage Dick. Other theatre credits include Cat on a Hot Tin Roof (Curve/UK tour), Describe the Night (Hampstead Theatre), A Christmas Carol (The Old Vic), On the Town (Regent’s Park Open Air Theatre). Her television credits include Hit & Run, Adult Material – BAFTA nomination for Best Supporting Actress, Temple and Vanity Fair.
Lyndsey Marshal returns to the Donmar Warehouse to play Ebba – she previously appeared in Absurdia and Boston Marriage (and New Ambassadors Theatre). Other theatre credits include The Wild Duck, Blood Wedding (Almeida Theatre), Diminished (Hampstead Theatre), The Oresteia (HOME, Manchester), Othello, Greenland, A Matter of Life and Death (National Theatre), Three Days of Rain (Apollo Theatre), The Pride, Fire Face, Redundant (Royal Court Theatre), Sleeping Beauty (Young Vic/Barbican/ The New Victory Theater), The Crucible (Sheffield Theatres), A Midsummer Night’s Dream (Bristol Old Vic), Bright (Soho Theatre) and Top Girls (New Vic). Her television credits include Agatha and The Curse of Ishtar, Dracula, Hanna, Trauma, From Darkness, Inside No.9, That Day We Sang, Blackout, Titanic,Garrows Law, The Cricklewood Greats, Being Human, A Short Stay in Switzerland, Kiss of Death, Green, Rome,The Shadow in the North, The Young Visitors, Sons & Lovers and The Gathering Storm; and for film, 1,2,3,4, Trespass Against Us, The Forgotten, Hereafter, Festival, Frozen, The Calcium Kid and The Hours.
Kwami Odoom plays Brady/Male Skier. His theatre credits include Hunger (Arcola Theatre), The Liquid Earth (Royal Court Theatre), The Half God of Rainfall (Kiln Theatre/Birmingham Repertory Theatre), BOYS (The Vaults), A Christmas Carol (RSC), Queen Margaret (Royal Exchange Theatre), and Barber Shop Chronicles (National Theatre). His television credits include Ladhood, Home, The Rook and The Athena.
Sule Rimi returns to the Donmar Warehouse toplay Mats – he previously appeared in Sweat and Measure for Measure. Other theatre credits include Jitney (Leeds Playhouse), Three Sisters, The Suicide (National Theatre) Glass! Kill! Bluebeard! Imp! (Royal Court Theatre), All My Sons, The American Clock (The Old Vic), Love and Information, Desire Under the Elms (Sheffield Theatres) Barber Shop Chronicles (National Theatre/Australia and New Zealand tour), Mary Stuart, They Drink it in the Congo (Almeida Theatre), The Rolling Stone (Royal Exchange Theatre/West Yorkshire Playhouse/Orange Tree Theatre), The Odyssey: Missing Presumed Dead (ETT/Liverpool Everyman), Bordergame (National Theatre of Wales), Othello (Fluellen Theatre Company), Muscle (Shock N Awe) and Serious Money (Waking Exploits). His television credits include Manhunt: The Night Stalker, Black Earth Rising, Strikeback, Unforgotten, Stella and DNN: Definitely Not Newsround; and for film, Ear For Eye, Ashens and the Polybius Heist, Ashens and the Quest for the Gamechild, Bad F*cking, The Adventurer: The Curse of the Midas Box,The Machine,Elfie Hopkins: Cannibal Hunter and Starter for Ten.
Oliver Savell returns to Donmar Warehouse to play Harry – he previously appeared in Appropriate. His film credits include The Piper and Belfast.
Arthur Wilson plays Receptionist. His theatre credits include The Tempest (US tour), She Ventures and He Wins (Young Vic), Genesis Inc (Hampstead Theatre), Persuasion (Royal Exchange Theatre), The Crunch (Look Left Look Right), Richard II (Shakespeare’s Globe), Man and Superman (National Theatre), Comedy of Errors, A Midsummer Night’s Dream, The Taming of the Shrew and Twelfth Night (Propeller), Hard Times, If I Were You, Tom’s Midnight Garden (Library Theatre Company), Resurrection (Òran Mór), A Hole in the Fence (White Bear Theatre), Home – Edinburgh (National Theatre of Scotland), Amid the Clouds (Tron Theatre) and The Borrowers (Citizens Theatre). His television credits includeCall The Midwife, The Academy: Special, Law & Order: UK, and Sea of Souls.
Michael Longhurst is Artistic Director of the Donmar Warehouse. His multicast revival of Nick Payne’s Constellations broke box office records at the Vaudeville this Summer whilst the Donmar completed essential building works. Constellations previously ran on Broadway (Samuel J Freidman Theater, for MTC), West End (Duke of York’s, Evening Standard Award Best Play), UK tour, originating at the Royal Court. His Chichester Festival Theatre production of Tony Kushner and Jeanine Tesori’s Caroline, or Change just reopened Studio 54 for Roundabout Theater on Broadway with Sharon D Clarke reprising her Olivier Award-winning performance (also West End and Hampstead). Other theatre includes Midnight Your Time, Teenage Dick, Europe, Belleville (Donmar Warehouse), Amadeus (National Theatre/NTatHome), The Son (Kiln Theatre/Duke of York’s Theatre), Gloria (Hampstead Theatre), Bad Jews (Theatre Royal Haymarket/Theatre Royal Bath/UK tour), They Drink It In The Congo and Carmen Disruption (Almeida Theatre), ‘Tis Pity She’s A Whore, The Winter’s Tale (Shakespeare’s Globe), If There Is I Haven’t Found It Yet (Off-Broadway for Roundabout), Linda, The Art of Dying, Remembrance Day (Royal Court Theatre), A Number (Nuffield Southampton Theatres/Young Vic), Cannibals (Royal Exchange Theatre), The History Boys (Sheffield Theatres), Dealer’s Choice (Royal & Derngate), The World of Extreme Happiness (NT Shed), Stovepipe (site-specific promenade with the National Theatre, HighTide and Bush Theatre), Midnight Your Time (HighTide), On The Beach (Bush Theatre), On The Record, Gaudeamus (Arcola Theatre), dirty butterfly (Young Vic – winner of the Jerwood Directors Award) and Guardians (Pleasance/Theatre503 – Fringe First Award).
Force Majeure is supported by Cockayne Grants for the Arts, a donor advised fund at London Community Foundation, Adam Kenwright and Ian & Beth Mill.
FORCE MAJEURE
LISTINGS
Donmar Warehouse, 41 Earlham Street, Seven Dials, London WC2H 9LX
10 December 2021 – 5 February 2022
Captioned: 24 January at 7.30pm
Audio-Described: 29 January at 2.30pm, touch tour at 1pm
British Sign Language Interpreted: 31 January at 7.30pm
YOUNG+FREE tickets for 16-25 year olds released by ballot. Sign up at www.donmarwarehouse.com.
Generously supported by IHS Markit.
DONMAR DAILY
New tickets on sale every day at the Donmar. Allocations of tickets from £10 will be made available every day for performances 7 days later. Tickets will be available across the auditorium at every price band.
STANDING TICKETS
£10 standing tickets available from two weeks in advance 10am online, by phone and in person. (Except Press Nights. Subject to availability)
ACCESS
The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is a Loop system and a Radio Frequency system fitted in the main auditorium and there are also hearing loops at all the front of house counters.
ASSISTED PERFORMANCES
If you require a companion to attend the Donmar, their ticket will be free. To book call 020 3282 3808 or email access@donmarwarehouse.com.
For all other access enquiries or bookings call 020 3282 3808.
SEASON AT A GLANCE:
LOVE AND OTHER ACTS OF VIOLENCE
Until 27 November 2021
Captioned: 8 November at 7.30pm
Audio-Described: 6 November at 2.30pm, touch tour at 1pm
British Sign Language Interpreted: 15November at 7.30pm
FORCE MAJEURE
10 December 2021 – 5 February 2022
Captioned: 24 January at 7.30pm
Audio-Described: 29 January at 2.30pm, touch tour at 1pm
British Sign Language Interpreted: 31 January at 7.30pm
HENRY V
11 February – 9 April 2022
Captioned: 28 March at 7.30pm
Audio-Described: 2 April at 2.30pm, touch tour at 1pm
British Sign Language Interpreted: 26 March at 2.30pm
MARYS SEACOLE
15 April – 4 June 2022
Captioned: 23 May at 7.30pm
Audio-Described: 21 May at 2.30pm, touch tour at 1pm
British Sign Language Interpreted: 30 May at 7.30pm
The season is presented in partnership with Wessex Grove.
The Cultural Coven Podcast returns for series two with a stellar line up of star guests to reveal all
After the success of the first season which saw guests such as Sam Heughan, Ian Rankin, Elaine C Smith, Liz Lochhead and more chatting to actress Nicola Roy about Scottish arts and culture, The Cultural Coven podcast is returning for series two.
The fortnightly series will kick off with a scintillating interview with superstar Alan Cumming on 10 November, followed by episodes starring Maureen Beattie (24 November), Grant Stott (8 December), Karen Dunbar (22 December), Sanjeev Kohli (5 January), Jackie Kay (19 January) and Len Pennie (2 February), before the season finishes with an extra special guest.
The Cultural Coven is a fortnightly podcast series that explores the lives of some of Scotland’s leading arts and cultural figures through conversation (and a bit of banter) with podcast host, actress Nicola Roy. It delves into the creative and life journeys of guests from backgrounds in music, theatre, TV and literature. With conversations covering life journeys, politics, arts and culture in Scotland, and fun green-room gossip and creative challenges along the way, the podcast connects the public with the artists, most of whom Nicola Roy has either worked with as an actress or has crossed paths with in the industry.
This season is produced by Li Kennedy, with music by kind permission of Cameron Barnes of The Red Hot Chilli Pipers. It is presented in association with the Stephen Dunn Theatre Fund and the Lyceum Theatre, and is based on an idea by Stephen Dunn and Nicola Roy. With strong ties to the Lyceum herself, many of Nicola’s guests will all have an association with Scotland’s leading producing theatre.
As the podcast grew out of the pandemic, it aims to keep artists and the public connected. From hard-hitting subjects to custom creative challenges, the podcast is an accessible celebration of arts and culture in Scotland and a window into the lives of the fascinating folk who feature on it.
Episodes will be released every two weeks and will again be freely available on all major podcast platforms. Season one is currently available in its entirety on Apple Podcasts, Amazon,Google,and Spotify.Listeners can subscribe now to be notified when new episodes are released fortnightly beginning with Alan Cumming’s episode on 10 November, where Nicola and Alan discuss topics such as safety on film sets, bullying in the industry, and Alan’s friendship with Monica Lewinsky.
Nicola Roysaid: “I am delighted to build on the lovely success of the first series and give listeners more top chat from fascinating folk for series two. It’s fantastic to celebrate our rich cultural landscape and our much-loved Arts and Cultural figures, many whom amplify Scotland’s creativity across the world, at a time when Scotland is questioning her identity. I have been very lucky to work and cross-paths with the type of people my 12 year old-self daydreamed about meeting. People with brilliant stories, humour and insight. Who wouldn’t want to know more about them? This project was born out of lockdown with the aim of keeping the public and artists connected. I love bringing people together, and this podcast is another way of doing that”
David Greig, Artistic Director of Lyceum Theatre, said: “Cultural Coven is a chance to celebrate and hear another, backstage, side of the people who make Scottish Culture. Nicola’s a warm, funny interviewer who brings out the best in her guests. The conversations are recorded in The Lyceum and I’m really proud that Nicola’s producing this work in association with us. Her wide ranging conversations make a piquant, illuminating pairing with the work we do on stage.”
First Minister Nicola Sturgeon in a tweet about the first series on 30.04.21, said: “If you like podcasts I highly recommend @CulturalCoven – brilliant interviews of really interesting people by @NicolaMRoy”
Alan Cumming said: “I had a lovely, lovely chat with Nicola, and I’ve never wanted to be a witch before but I really enjoyed being a part of The Cultural Coven.”
Maureen Beattie said: “We laughed a lot when we were recording my contribution to The Cultural Coven, but Nicola isn’t afraid to ask the deeper, more serious questions as well. She’s a brilliant interviewer – we could have gone on for hours!”
Karen Dunbar said: “The Cultural Coven was really enjoyable to record. Nicola’s chat, insights and questions helped take the interview in a refreshing direction. Give it a listen (or I’ll come round to your house and put a bat up your nightdress)“
Every so often a little show comes along pretty much unheralded and without star casting that strike a chord with audiences and critics alike, and end up sticking around in the West End for years: think The Play That Goes Wrong, Six, Stones In His Pockets, The 39 Steps, Reduced Shakespeare Company (the last two of these were of course long term occupants of the Criterion on Piccadilly Circus, where Pride & Prejudice* (Sort Of) looks likely to remain for the foreseeable future). Yes folks, here’s another to add to that illustrious populist list. Despite a somewhat unwieldy title (which makes total sense once you see the show, which you absolutely must),this is the sort of joyful comic romp that will appeal to all ages (although be aware there is some swearing, if you’re planning to bring youngsters) and is likely to get a lot of repeat business from patrons curious to see what they missed while their heads were thrown back in mirth on their previous visit.
Written by Isobel McArthur “after Jane Austen”, it’s one of the most cheeky and charming examples of having your theatrical cake and eating it that I’ve ever encountered; for the brilliant McArthur, who co-directs (with Simon Harvey), plays Mrs Bennet AND Mr Darcy, and also plays piano and accordion because, well, why not…, has created a skilful spoof of Austen’s beloved novel and the sober-sided ways it’s often dramatised, as well as a remarkably complete rendering of the actual story itself. It’s very clear that, for all their hysterically funny mucking about with it, McArthur, Harvey and their team have a great deal of affection for, as well as a formidable working knowledge of, Pride & Prejudice the novel.
What they bring to it is crazy comic invention, phenomenal energy, raucous anachronisms (“Darcy wouldn’t piss on you if you were on fire!”), genuine wit …and karaoke. The all female quintet who roar through this life-enhancing spectacle playing multiple roles are sensational physical and vocal comics who miraculously still find the kernels of truth in what they are doing, thereby sending the already highly amusing up into the comedy stratosphere. It’ll be a long time before I forget Hannah Jarrett-Scott’s fantastically arch, screamingly funny Caroline Bingley trying to woo Darcy while discrediting Meghan Tyler’s glorious Northern Irish Elizabeth Bennet, or the sight of Christina Gordon’s lovely Jane Bennet on a full size horse gamely pretending that the water pistol repeatedly fired at her by Tori Burgess’s hysterical younger sister is an unexpected rain shower. The five performers are just magic together, and “Comedy Staging” specialist Jos Houben should probably get an honorary Olivier award for this work on this.
Here’s a world where the catering at a society party includes Wagon Wheels and Irn Bru (the production originated in Scotland), or where characters emerge from a modern day rubbish skip in full Regency dress and brandishing percussion which they then play, where Mr Bennet can occupy quite a lot of stage time but is never actually seen, or where Elizabeth can suddenly produce a mic and start berating Darcy with a rather terrific version of Carly Simon’s “You’re So Vain”. Despite all the fun (and there is a heck of a lot of that), there emerges a very strong sense that in Austen’s world the men had the power but it was the women who drove things.
It looks good too: the costumes are nicely mock-lavish, and Ana Inés Jabares-Pita’s gorgeous set, a circular book-festooned staircase climbing into the flies, mirrors the colour scheme and patterns of the Criterion’s own dust-pink and cream auditorium and even features a replica of the theatre’s own chandelier.
The second act falters a bit, almost as though the creators had realised that they were so busy showing us a good time that they’d forgot there was still quite a bit of the plot to cram in, and could probably lose about twenty minutes. By the end though, the audience is spontaneously on their feet, galvanised by an unexpected but entirely delightful rendition of the Candi Staton disco classic “Young Hearts Run Free” from the junior Bennet sister who has hitherto been banned from singing at family parties (the fabulous Burgess again).
This show is nuts: Austen as the adorable love child of Mischief Theatre and Our Ladies of Perpetual Succour, with a large dash of Laura Wade’s The Watsons and the National Theatre of Brent. It takes you to that smashing place where you just can’t stop laughing. Is it perfect? Well, no. But is it the funniest show currently in the West End? Absolutely.
THE ALEXANDRA THEATRE, BIRMINGHAM – UNTIL SATURDAY 6 NOVEMBER
REVIEWED BY NADIA DODD
4****
Having been a fan of the film, I was more than delighted to accept the invitation to go along to the press night of the theatre production. I first saw Grease on the stage back in the 90’s in the West End and tonight’s excitement and anticipation started to build once entering the theatre seeing some audience members dressed as the ‘Pink Ladies’, I had my fingers crossed for a great few hours ahead.
The performance started with the stars main characters Danny Zuko (played by DanPartridge) and Sandy Dumbrowski (played by alternate Sandy, Ellie Kingdon) setting the scene of their summer romance coming to an end before heading to back to school for the start of the new term. Ellie (Sandy) is making her professional debut in this performance of Grease and she does not disappoint, she has such a powerful voice, perfect for the iconic song ‘Summer Nights’.
Cast perfectly for the comical role of Jan, Maeve Byrne was such a delight to watch as one of the Pink Ladies, not as popular with the boys as some of the others. Yes, Danny was the president of the Burger Palace Boys but for me it was Kenickie (played by Paul French) who stood out as such a strong character and fantastic performer. The scenes with the boys dancing as group were astounding!
I have to admit it was Vince Fontaine /Teen Angel (played by Peter Andre) who stole the show and the audience’s hearts, showing that even though his music career hit a peak in the 1990’s he could still hold a note and a few cheeky hip thrusts that certainly entertained majority of the crowd…..
Costumes, props and scenery were on point set back to the 50’s, the iconic car ‘Grease Lightening’ obviously also featured heavily. There are some additional songs in this production compared to previous shows and the original film, and don’t expect the show to mirror the exact flow of the film, it has to be adapted for the stage remember.
The Pink Ladies and Burger Palace Boys, as they were originally known (T-Birds in the film) put on such a colourful, vibrant and energetic performance for the whole show, it really was difficult not to join in, although the whole theatre were encouraged to take to their feet and join in along the whole cast in such a joyful ensemble of all the favourite songs at the end of the show.
Atlantic City always appears to be a sadder, less impressive version of Las Vegas in films, and this musical set in Atlantic City has the same disappointing aura. Based on Jack Engelhard’s novel rather than the tweaks made in the movie screenplay, the characters and plot are one dimensional and unengaging.
Married couple Jonny (Norman Bowman) and Rebecca (Lizzy Connolly) are both working multiple jobs to get by in Atlantic City. Rebecca catches the eye of millionaire Larry (Ako Mitchell) who offers the couple one million dollars to spend one night with Rebecca. Act two shows the effects of their decision on their relationship, but the shouty songs begin to grate. Perhaps the arguments should have been spoken.
There is so much that could be said about capitalism, sex workers, and a multitude of other problematic issues the characters deal with. But Michael Conley’s book and lyrics just brush over everything and move the plot along with clunky dialogue and repetitive lyrics that add nothing to the story or character development. Dylan Schlosberg’s music is catchy with a few standout numbers, but nothing very memorable, despite the musicians’ talent and energy.
Bowman and Connolly do the best they can with the dull script, and both have great voices, but there is nothing they can do to make you care about these characters. The only truly memorable moments come from Jacqueline Dankworth as lounge singer Annie. She has most of the funny lines and gets to work the audience in character and nails the two best songs in the show – exuding melancholy singing Atlantic City, and sublime singing Will You Remember.
A talented cast wasted in a musical that doesn’t find it’s voice – a proposal that is easy to turn down.
The Mixing Room at Menier Chocolate Factory – until 18 December
Reviewed by Claire Roderick
4****
Harry Peacock and Dan Skinner bring their podcast characters to the stage in this hilariously unhinged show. The Mixing Room’s space is dressed like a shabby community centre, with props doubling as more exotic items as the play progresses while clever projections give a clear sense of the location of each character.
After meeting at a support group for recently divorced men, Brian (Simon Lipkin) and Roger (Dan Skinner) bond over their love of the movie Avatar and develop a very dysfunctional friendship. Dan is a sweet, naïve optimist who is walked over by everyone, and Brian is a total bastard who uses this to his advantage at every opportunity. Brian is off the grid, living in a student house and wrapped up in dodgy deals with dodgier people, while Dan is sleeping on an 82-year-old woman’s sofa, always hoping that he will see more of his son and reunite with Claire.
Keeping to the structure of the podcast, the story unfolds through phone messages the pair leave for each other – usually Brian talking Roger into his latest scheme and Roger’s upbeat apologies and explanations about what exactly went wrong. This could be dry and static in other hands, but Lipkin and Skinner’s brilliant characterisations are engaging and funny, with Lipkin making you want to slap Brian harder each time he speaks, and Skinner keeping Roger sympathetic and loveable as his situation worsens. Director David Babani keeps things moving smoothly and Peacock and Skinner’s writing is sharp and witty – broad at times, but never as offence as the title suggests – ramping up the pace as the second act gallops along without any weak scenes.
The pairs exploits take them from a poker game in an abattoir to a room full of poisonous snakes, to a ridiculous race against the clock in China. As the stakes rise, the situations they find themselves in get more and more bizarre, and the laughs come faster and get bigger. The only scene where the pair are talking in real time takes place in darkness, which is just as well considering what they are forced to do with bolt cutters.
Brian & Roger probably isn’t to everyone’s taste, but I haven’t laughed this much at the theatre for a very long time. A completely insane, hilarious show.
Kings Theatre, Edinburgh – until Sunday 7 November 2021
Reviewed by Ellen Searle
5*****
First performed in 2012, the multi award winning The Play That Goes Wrong is a hilarious spoof on what might kindly be called less than professional stagecraft. Originally directed by Mark Bell, with the mantle picked up here by Sean Turner, it stars the fictional Cornley Polytechnic Drama Society as it attempts to stage The Murder at Haversham Manor, in the style of the classic 1920s cliché ridden whodunnit. This provides rich fodder to showcase all that possibly could go wrong in a performance. And to our delight, misplaced props, falling apart sets and fluffed lines are only the beginning of the fun.
All of us who love the theatre will occasionally have seen things genuinely going wrong on stage, and, more to the point, the attempts by actors and production staff to hide or make good those errors. The larger than life expressions of this, combined with all the theatrical tropes we could ever hope to see – the charismatically overbearing ‘I am an actor’ character a la the comedy Brian Blessed by Leonard Cook being a particular highlight – are delivered with gusto by this skilled and energetic cast. The slapstick is of the highest order, with a multitude of pretend errors and accidents, as far as entire set walls falling over and actors being dragged off injured, while their brave colleagues do their valiant best to hold the play and, at times, the actual set together. All of the cast are to be commended, in particular for their exquisite timing and highly physical on stage horseplay. Special mention must be made of set designer Nigel Hook, whose expertise plays a huge role in enabling the accidentally on purpose and hugely entertaining stage mishaps to be delivered convincingly and safely.
But what is really clever about this play is the way in which it builds over time. What initially might feel a little predictable develops layer upon layer into something really special. The unceasing efforts of the fictional cast to deliver on the old adage that the show must go on endears us to them more and more with each ever more ridiculous disaster. They say God loves a trier, and it is this aspect, contrasted with the most unsuccessful results, that brings a genuine warmth to proceedings alongside the comedy. The interval glass of wine may have helped, but my chuckles of the first half grew to guffaws in the second , and by the end I was bent over with the hilarity. The Play That Goes Wrong is very, very silly and very, very funny. In these troubled times, it is perhaps just what we need.
There were elf hats a plenty in the audience as children (and adults) excitedly anticipated some Christmas cheer and they were not disappointed. Buddy the Elf (Tam Ryan) bounced into the Hull New Theatre and with his child-like enthusiasm and glee won the hearts of a packed audience.
Elf The Musical is based upon the hit film, adapted by Bob Martin and Thomas Meehan with music by Matthew Sklar and Chad Beguelin. This production is directed by Jon Conway and produced by WBP Ltd. Elf tells the story of Buddy, a young orphan, who climbs into Santa’s sack and ends up at the North Pole where he is brought up as an elf. Of course Buddy grows so much taller than the other elves but it is still a shock to him when he discovers, at the age of 30, that he is really a human. Santa tells him his father is really Walter Hobbs who lives in New York, but what is even more shocking to Buddy is that his father is on the naughty list because he doesn’t believe in Santa. We then follow Buddy’s adventures in New York, where he is a square peg in a round hole, full of joy and happiness and most importantly of all believing in Santa and ultimately saving the day.
Tam Ryan is perfect as Buddy the Elf, full of childishness and naive enthusiasm. His comic timing is superb as Buddy lands himself in all sorts of difficulties. He also builds up a wonderful rapport with the audience, especially the children. He has a great singing voice too. He is the glue that holds this production tightly together.
A special mention should also go to Kelly Banlaki as Jovie, Buddy’s love interest. She had just the right amount of bitterness about men and her singing voice was excellent, “Never fall in Love” was beautifully sung.
Elf The Musical thrives on audience reaction and it was there in droves last night, whether we were “ahing” at the sad parts, shouting at Santa, groaning at the jokes (the adults!) or belly laughing at the slapstick. It was wonderful to see children enthralled by the action on the stage, loving every minute of it and still buzzing at the end.
Elf The Musical is full of songs and dance routines, superbly delivered by the cast, who quickly switched from being elves to office staff to ice skaters etc., providing a lovely spectacle, these were proper old-fashioned type musical songs and routines. I particularly loved the Fake Santas’ routine to “Nobody cares about Santa”. The cast provided plenty of slapstick and visual humour too and were not afraid to throw in the odd ad lib!
The addition of a giant LED screen provided some wonderful animations and backdrops to enhance the story telling, together with clever lighting they made this story glitter and sparkle even more.
All in all, Elf The Musical is a fabulous fun night out for all the family, full of glitter, sparkle and spectacle. It will fill you with just the right sort of Christmas spirit as Buddy saves the day and you will leave the theatre with a warm glow, perfect for these dark nights. For anyone who loves Christmas this is perfection and as to me I just wanted to come home and get the decorations out! Treat yourself or someone special to some tickets!
Mayflower Theatre, Southampton- until 4 November 2021
Reviewed by Gill Gardiner
5*****
It is often said that great art transcends time and place, Welsh National Opera have succeeded in proving just how true this is for Puccini’s work in their new production of Madam Butterfly. The setting for this production is neither in Japan nor specifically any country. Rather than being set in the past it is set in a near future version of our own society, where wealthy male clientele can buy young girls like Butterfly as child brides for sexual exploitation. Real world contemporary parallels are obvious, sex trafficking of children remains a global business.
The cruel and tragic wreckage of a fragile 15 year old girl is skilfully depicted in this production. Isabella Bywater’s minimalist set is stunning, a revolving neon lit, white cube house allows interpretation as a shiny show house, a pleasure suite and a squalid prison for a single mother.
Joyce El – Khoury gave a stand out performance receiving a standing ovation from the audience for her excellent portrayal of Butterfly. As a reflection of his skill in portraying the callous Pinkerton Leonardo Caimi received simultaneously an ovation for his performance and boos from the audience for the character that he represented.
I confess I was very sceptical before the show as to whether this classic opera could be portrayed in the modern world; I was wrong, this powerful story of unrequited love, pain and suffering, intensified by Puccini’s glorious music, is as relevant now as it was over a century ago. A first rate production, I was thoroughly drawn into the narrative, the music and the setting.
