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Curve Theatre, Leicester – until 10 May 2025

Reviewed by Leanne W

4****

The launching of the UK stage production of the cult classic Muriel’s Wedding coincides with the 30th anniversary of the film’s release. The Musical has previously played in Sydney, Australia in 2017 with a tour of the country in 2018, but this production at Curve Theatre, Leicester is the UK premier.

The story follows Muriel (Megan Ellis, who has been perfectly cast as the lead), who dreams of getting married but lives a dead-end life in Porpoise Spit, with a dead-end family and a nasty group of so-called friends. She hooks up with old school pal Rhonda (Annabel Marlow) moves to Sydney and finds herself in an exciting new life; with club nights, a job and the affections of Brice (Ethan Pascal Peters). The performance is interspersed with some ABBA classics – and delightfully appearing in the roles as the afore mentioned group are Bronte Alice-Tadman as Frida (and Dierdre), Jasmine Hackett as Agnetha, Aaron Tsindos as Benny and Jamie Doncaster as Björn. There is a delightful amount of multi-rolling from the entire cast throughout the performance.

Taking an opportunity to get married, Muriel agrees to take payment to marry Olympic swimming hopeful and Russian national Alexander Schkuratov, played by Stephen Madsen reprising his role from the World Premier in Sydney, thus gaining him Australian citizenship. Their meeting at the swimming pool is great fun, with a full suite of highlights – set (Poolside), costume, musical number (Mr and Mrs Schkuratov) and comedic moments.

The music is fun, there are some fabulous comedic moments and some superb casting. Costumes are vibrant and fun. I enjoyed several aspects of the set, including the clever use of AV screens to create various scenes, phone screens, neon signs and the use of the revolving stage. I enjoyed seeing my fellow audience join the wedding, however from my seat I missed much of the wedding due to the backs of the pews being so tall. The wedding shop scenes, where Muriel indulges herself as would-be bride, were delightful with the mannequins beautifully choregraphed. There were some moments in this updated version, which struck me as a little odd, the large old 80’s style phone in the scene where Muriel eventually calls home and Rhonda’s mum in a shell suit (her previous outfits not suggesting a preference for the style of the era).

Several of the Production Team had been involved in the previous Australia production. Directed by Simon Phillip with choreography by Andrew Hallsworth. The remaining creative team is comprised of music supervisor, orchestrator and arranger Isaac Hayward, set designer Matthew Kinley, costume designs from Gabriela Tylesova, lighting designer Natasha Chivers, video designer Andrzej Goulding, and sound is crafted Adam Fisher.

The production itself is great, a feel-good show with some unique moments and catchy musical numbers. What is missing though, which would see the audience leave a desperate to return, would be a proper finale and encore. I was anticipating that I would be up on my feet having a dance to Dancing Queen and other ABBA classics heard in the show – ABBA were there after all! But no, the show ends, the cast bow and we all went home, left wanting that little bit more.

I really enjoyed the show, I hope it tours so more can enjoy a joyful evening out with highs, lows, joy laughter and some sad moments – and a reminder that life is for living. It’s not the most creative musical but it is good fun and sometimes that’s more important.

The Crazy Coqs, Piccadilly Circus, London W1 – 23 April 2025

Reviewed by Phil Brown

3***

One of the immense pleasures of a reviewing gig is the opportunity to enjoy fresh experiences and expand one’s horizons.  Music theatre veteran, Lorna Dallas (originally from Carrier Mills, Illinois, but an honorary Brit) certainly delivers on both counts.  

She has been a star of hit musicals both sides of the pond since the 1970s and has a truly extensive and distinguished career as a singer and actress (also recipient of the 2020 New York Bistro Award for ‘Consummate Cabaret Artist’), but this deeply personal and intimate performance at the delightful Crazy Coqs was my first taste of one of her one-woman shows live in cabaret.  

Her latest show – the well crafted Snapshots – developed in conjunction with director Barry Kleinbort and first performed in 2024, is an exercise in unabashed nostalgia.  It essentially browses Lorna’s career ‘photo album’, to cherry pick significant musical moments and memories in an extraordinarily varied and hard working career.  In doing so, she revives long forgotten classics alongside the odd obscure number from the past as well as premiering material from a new musical, Travels in Vermeer. These snapshots are linked with some fascinating anecdotes of a self confessed ‘demented diva’ ever ready to perform and who apparently never said no to such opportunities.  Overall, it has the feeling of a career summation, possibly a fond farewell, but judging by her evident work ethic, I suspect not.

The marriage of two superb instruments – Lorna’s expressive soprano voice, undiminished by age, and music director Simon Beck’s immaculate piano creates a cabaret evening of the highest class over the course of around 21 songs, and 75 minutes.  (Some songs are combined into medley form).

Whilst long time musical theatre obsessives could be familiar with the majority of the material, It has to be said that Lorna’s nostalgia may only chime with a (declining) audience of a certain age, being mostly decades old (one song being over a century), even though a couple had appeared in UK pop charts back in the 60s.  As she said after singing the one new song (Stillness) – “OK Simon, back to the dead guys…” 

Lorna opens with the exquisitely wistful Always Something There to Remind Me (Bacharach/David) a massive hit for Sandy Shaw in the 60s) and a well chosen introduction to the Snapshots theme.  Her wide ranging set list covers the crême de la crême of British and American songsmiths from Bacharach to Sondheim.  Particular highlights for me are the reflective Snapshots/Walking Among My Yesterdays medley, the yearning Song on the Sand (Gene Barry), the funky Blues in the Night (Arlen/Mercer), and the sorrowful The Last Time I Saw Paris (Hammerstein/Kern).   However, despite the touching and amusing lead-in, it’s difficult not to picture Tommy Steele whenever I hear Flash, Bang Wallop (Heneker).

Other highlights are the between songs introductions, explanations and amusing personal reminiscences, such as her extraordinary time in Kismet at the Shaftesbury Theatre playing to packed houses until 10.30pm, then dashing across town to the Savoy for the 11pm cabaret, incentivised by Wimbledon centre court tickets.  And at the same time, she was also flying to Cologne every morning to record Stranger in Paradise in German before returning for the two evening shows.  Wow!  I also loved the clever adaptation of Cole Porter’s Let’s Fly Away – “Let’s fly away and find a land that’s warm and tropic, where Donald Trump is not the topic…” 

Overall, after a long and celebrated life in showbiz, Lorna Dallas clearly still loves being on stage, entertaining people, and retains an enthusiastic support base.  There is so much to admire  – her energy, warmth, artistry and professionalism are all inspirational.  She makes a wonderful role model for aspiring performers across the arts.  The show itself is high quality, heartfelt entertainment, but perhaps the material is now a touch too old for modern audiences.

Hampstead Theatre Downstairs, London – until 17th May 2025

Reviewed by Celia Armand Smith

4****

The stage is piled high with newspapers, records, toys and games, and lots of cardboard boxes in Chloë Lawrence-Taylor’s new play, Personal Values. Bea and Veda are sisters who haven’t spoken since their father’s funeral (Bea keyed something bad on the side of Veda’s car) and emotions are running high. Bea is being swallowed by the contents of her house, and Veda is being swallowed by health and life concerns. As their relationships with the house and each other are pushed to breaking point, Lucy Morrison’s production examines grief, our connection to objects and memories, and the trauma passed between generations.

On a rainy day, Veda (Holly Atkins) stops by unexpectedly to check on her sister Bea (Rosie Cavaliero) who lives the secret life of a hoarder behind an immaculately painted front door. The sisters manoeuvre through their childhoods and memories, some good, some painful, and the objects that have been left behind. There is something uncanny about Veda, and Naomi Dawson’s crowded set coupled with Holly Ellis’ flickering lighting design indicate that something is not quite right. Max Pappenheim’s soundtrack interrupted by some jazzy keyboard demo music rumbles along in the background.

At 60 minutes long, a lot of ground is covered, and Atkins and Cavaliero keep the plot ticking along at pace as they cover life, death, and the imminent crumbling of the worlds they have created for themselves. Personal Values offers a funny and tragic inside look at a world often hidden away, showing all of the chaos that families bring with them, and how grief affects us all in different ways.

RESTAURANT PARTNERSHIP TO CONTINUE WHETTING THE APPETITE OF THEATRE GOERS

Following a successful 18-month collaboration, the Grand Opera House York and Ate O’Clock and Social8 Lounge Restaurant have extended their partnership, offering more mouthwatering savings and experiences for York theatre goers.
 
Ate O’Clock will continue as the Grand Opera House York’s official restaurant partner, where over the last 12 months, customers have been able to save 10% off their bill when dining. For a bit of fun, customers were treated to themed cocktails to mark the arrival of iconic shows such as the Rocky Horror with the ‘Let’s do the time warp’ cocktail, not forgetting the delicious Ate O Clock, Only Fools and Horses pie and mash special. During panto season some lucky families were given kids eat free vouchers. More fun, drinks, dishes and money saving offers will be served up over the next 12 months.
 
Laura McMillan, Grand Opera House York Theatre Director says, “I look forward to another year of collaborating with Ate O Clock, providing more memorable experiences for York’s theatre goers, combining delicious food and cocktails with the best live entertainment”.

Emily Crampton, Ate O’Clock and Social8 Lounge Restaurant Manager says, “We have absolutely loved partnering with the Grand Opera House York, so it was the easiest yes when Laura asked us if we wanted to continue. Hospitality is all about giving guests an experience they won’t forget and being able to offer discounted pre-show meals & after-show drinks means we get to be part of providing the ultimate evening out”.
 
Grand Opera House York ticket holders can continue to enjoy pre-show dining, saving 10% on their final bill when booking a table at the Ate O’Clock Restaurant between the hours of 1.30pm and 5.30pm.

 Now is the time to start planning your big night out – with a packed programme of shows, from the whip-crackin’ musical classic Calamity Jane to the Olivier, Tony and Grammy award winning Dear Evan Hansen and the side-splitting comedy Friends! the Musical Parody, there’s something for everyone. 

Sign up online to receive the latest Grand Opera House York updates by visiting [www.atgtickets.com/york]www.atgtickets.com/york. You can also sign up to receive the latest updates from Ate O’Clock by visiting [www.ateoclock.co.uk]www.ateoclock.co.uk

BLUEY’S BIG PLAY BACK BY POPULAR DEMAND

IN UK AND IRELAND LIVE THEATRE TOUR

BLUEY BROUGHT TO REAL LIFE IN SMASH-HIT LIVE SHOW

23 April 2025 – Following a hugely successful UK tour, Bluey, Bingo, Mum and Dad are back by popular demand in the Olivier Award nominated live stage show Bluey’s Big Play.

The tour opens on 25 October and will continue to visit 32 venues across the UK and Ireland until August 2026. It will also play the Southbank Centre’s Royal Festival Hall for the festive season from 18 December – 11 January.

Featuring brilliantly created puppets, this theatrical adaptation of the Emmy® award-winning children’s television series is packed with music, laughter, and fun for the whole family. The critically acclaimed stage show has captivated audiences of all ages, with the much-loved Heeler family delighting fans with an unforgettable live theatrical experience.

“’Expect full chair dancing and shrieks of joy’” Broadway World ★★★★★

“Puppy puppets’ sweet show sets tails wagging” The Guardian

Since premiering in Australia, Bluey’s Big Play has toured globally across the UK, Ireland, Canada, the US, Europe Singapore and the UAE and has been seen by millions of fans worldwide.

Natasha Spence, Events Director, Live Entertainment at BBC Studios, said “The play’s last tour was met with overwhelming enthusiasm from audiences across the UK and Ireland. We can’t wait for more fans and families to experience the joy of seeing Bluey’s Big Play live on stage in a few months.”

Ben Hatton, Senior Vice President, Arts & Entertainment at Cuffe and Taylor added “We were thrilled with the incredible reception Bluey’s Big Play received in our previous tour, the response from our audiences was nothing short of magical. So we couldn’t be more excited to bring Bluey back to the UK again later this year”

Bluey’s Big Play features original voices from the TV sensation, including the instantly recognisable voices of Dave McCormack and Melanie Zanetti as Dad and Mum. While the larger-than-life puppets are commanded by a talented cast to be announced. It is produced by Andrew Kay and Cuffe & Taylor with Windmill Theatre Co for BBC Studios.

When Dad feels like a little bit of afternoon time out, Bluey and Bingo have other plans! Join them as they pull out all of the games and cleverness at their disposal to get Dad off that bean bag. With an original story by Bluey creator Joe Brumm, and new music by Bluey composer, Joff Bush. This is Bluey, For Real Life.

Pre-sale tickets will go on sale on Tuesday 13 May for Bluey Fan Club members with general on sale across the tour on Friday 16 May. For full information visit blueylive.com

·       EXECUTIVE PRODUCERS MICHAEL MCFADDEN AND KATY LIPSON HEAD NEW FULL-SERVICE THEATRICAL PRODUCTION COMPANY, TRW PRODUCTION.

·       A DIVERSE SLATE OF PROJECTS ARE IN DEVELOPMENT INCLUDING ADAPTATIONS OF THE ROM-COM MUSIC AND LYRICS AND THE 2012 FILM JOYFUL NOISE.

·       ALL PROJECTS DEVELOPED BY TRW PRODUCTION WILL BE REPRESENTED BY THEATRICAL RIGHTS WORLDWIDE, FACILITATING A LONG AND LUCRATIVE LIFE FOR THESE NEW TITLES IN FIRST CLASS, INTERNATIONAL, REGIONAL AND EDUCATIONAL MARKETS.

·       A NEW MENTORSHIP PROGRAM CALLED THE COLLECTIVE WILL DEVELOP NEW, ORIGINAL MUSICALS BY UP-AND-COMING COMPOSERS AND LYRICISTS.

TRW Production, a new development, investment, and producing entity headed by Executive Producers Michael McFadden and Katy Lipson, has been announced today.

With a wealth of business acumen and theatrical production experience spanning four decades, Executive Producers Michael McFadden and Katy Lipson head the company’s New York and London offices. Brought together by their unique vision and fierce ambition, both have achieved international success through their individual producing organizations, Phoenix Entertainment and Aria Entertainment. With robust knowledge of US and UK markets, the duo eagerly looks forward to this new chapter of creation and collaboration. In tandem with Steve Spiegel, owner and CEO of licensing house Theatrical Rights Worldwide, TRW Production will develop a wide range of theatrical properties that will have immense appeal to the first-class international, regional, and educational markets.

Empowering the talent of established A-listers and emerging artists alike, TRW Production will embrace storytelling as the most powerful catalyst to generate new ideas by bringing musicals, plays, and theatrical experiences from page to stage.. Among TRW Production’s stage adaptations of films currently in development is Music & Lyrics, the tuneful 2007 rom-com originally starring Hugh Grant and Drew Barrymore, which will be adapted by original writer and director Marc Lawrence. Also in development isthe beloved 2012 Dolly Parton and Queen Latifah film Joyful Noise. This stage adaptation by screenwriter Todd Graff will feature an original, gospel-inspired score, alongside hits by pop heavyweights Michael Jackson, Stevie Wonder, and Usher. The original songs written for the film by Dolly Parton will also be featured. In addition to films, the company will partner with innovative dramatists to explore the music catalogues of iconic recording artists, beginning with the rock and roll legend, Chuck Berry. His story and sweeping catalogue of songs will be brought to the stage by prolific playwright Will Power.

Driven by its commitment to up-and-coming writers, TRW Production launched The Collective, a mentorship program for the development of new musicals.  Each month, a select group of emerging composers and lyricists meet to present material. In this collaborative environment, writers receive invaluable feedback from their peers along with support, advice, and resources from the team at TRW as they develop their original ideas and pave a path towards production.

For further information visit www.trwproduction.com

SH!T-FACED SHAKESPEARE®

CELEBRATE THEIR 15^TH YEAR WITH 

ONE OF SHAKESPEARE’S MOST POPULAR TRAGEDIES, HAMLET

RUNNING AT LEICESTER SQUARE THEATRE FROM 7 AUGUST – 21 SEPTEMBER 2025

FOLLOWED BY A UK TOUR

Sh!t-faced Shakespeare®are excited to once again drunkenly stomp all over the greatest dramatic work ever committed to page in the English language: the story of a privileged whiny lad who goes a bit bonkers and does some stabbings.

Sh!t-faced Shakespeare® have toured the world, broken America, established themselves on London’s West End, won numerous awards, and survived a zero-star review in The Times. Now, they will be celebrating 15 years on the wagon with one of the Bard’s most popular tragedies: Hamlet, which will run at Leicester Square Theatre from 7 August to 21 September 2025.

Featuring a cast of professional Shakespearean actors, this unique production takes an unpredictable twist each night as one performer is chosen to be deliberately intoxicated for up to four hours before showtime. The rest of the cast must then navigate the play, improvising their way through the unpredictable chaos that springs from their inebriated colleague’s booze-fuelled antics.

Stacey Norris, director said, “Fifteen years of drunken debauchery, Shakespearean chaos, and somehow—against all odds—we’re still here. How? No idea. How are we still alive? Even bigger mystery. But here we are, raising a glass (or several) to 15 years of beautifully boozy Bard, and what better way to celebrate than with the greatest tragedy of all—our own survival. See you at Leicester Square Theatre, if we make it that far.”

This Sh!t-faced Shakespeare® production of Hamlet will be directed by Stacey Norris, produced by James Murfitt and Johanna Rigg for Leicester Square Theatre, dance choreography from Beth-Louise Priestley and fight choreography from Robbie Capaldi, lighting design by Tom Williams, set design by Nicola Jones, costume design by Lorna Jean Costumes, marketed by Tom McGregor, with PR from ANRPR.

Casting will be announced in due course.

Following the production’s run in London, the show will tour the UK, visiting Albert Halls, Bolton (1 October), Lawrence Batley Theatre, Huddersfield (2 October), Princes Hall, Aldershot (3 October), The Exchange, Twickenham (4 October), Lichfield Garrick (7 October), The Albany Theatre, Coventry (8 October), Taunton Brewhouse (9 October), Exmouth Pavilion (10 October), The Berry Theatre, Hedge End (11 October), Chelmsford Theatre (16 October), The Haymarket, Basingstoke (17 October), Exeter Corn Exchange (18 October), Westlands Entertainment Venue, Yeovil (19 October), Palace Theatre, Southend (21 October), Corn Exchange, Ipswich (22 October), The Cresset, Peterborough (23 October), The Capitol Horsham (25 October), The Old Market, Brighton (26 October), Komedia Bath (28 October), Kenton Theatre, Henley (29 October), Farnham Maltings (30 October), Shanklin Theatre, Isle Of Wight (31 October), New Theatre Royal Portsmouth (1 November), Tivoli, Wimborne (2 November), Royal & Derngate, Northampton (4 – 5 November), Tyne Theatre & Opera House, Newcastle (6 November), Scarborough Spa (7 November), Middleborough Town Hall (8 November), Epic Studios, Norwich (12 November), Norwich Theatre (13 November), Lincoln Arts Centre (14 November), Old Woollen, Leeds (15 November).

ROLL UP, ROLL UP TO SEE PANTO JOIN THE CIRCUS!

BRENDAN COLE TO LEAD THE CAST OF GOLDILOCKS AND THE THREE BEARS WITH THE RETURN OF JOSH BENSON AND JAMIE JONES

Darlington Hippodrome has today, Thursday 24 April, announced that Darlington panto favourites Josh Benson and Jamie Jones will return for a third season, this year joining the circus as Joey the Clown and Dame Betty Barnum.

The much-loved pair will join previously announced Brendan Cole, who headlines the show as The Evil Ringmaster, Baron Von Bolshoi. Brendan appeared on every season of Strictly Come Dancing since it began in 2004 up until 2017. In 2022, Brendan starred in ITV’s Saturday night entertainment programme Dancing on Ice, making it through to the final.

Josh Benson is known and loved in Darlington as one of the most energetic panto comics to take the Hippodrome stage. As a cabaret entertainer, Josh has performed at the Leeds City Varieties Music Hall, London’s Charing Cross Theatre, and the Phoenix Arts Club. He is also a regular at the incomparable Brick Lane Music Hall. Josh has previously appeared as the panto comic at Chesterfield’s Pomegranate Theatre, York Theatre Royal, Brick Lane Music Hall, and Halifax’s Victoria Theatre.

On returning for a third season, Josh said:

“I can’t wait to be back with my ‘panto gang’ at the Hippodrome for a hattrick season! Darlington audiences are so much fun to perform for… and I’m so excited to be bringing them some more daft antics this Christmas.”

Jamie Jones trained as an actor and graduated from Staffordshire University with a First-Class Honours degree in Musical Theatre. Alongside performing on stage, he is also a keen writer and director for various production companies across the UK. His scripts have been performed to great acclaim, with new titles being regularly added to his growing repertoire. Throughout the year, Jamie designs and creates all his own costumes for the upcoming pantomime season, adding fabulous new pieces to his ever-expanding and glamorous wardrobe.

On coming back to Darlington for panto, Jamie said:

“I’m absolutely thrilled to be returning to the beautiful Darlington Hippodrome this Christmas as Dame Betty Barnum in Goldilocks and the Three Bears! Expect fabulous costumes, sumptuous scenery and laugh out loud comedy. This year’s show promises to be one of Darlington’s biggest yet, so come and join us in the Big Top for some festive panto magic!”

For four weeks only Darlington Hippodrome will be transformed into a sensational circus, where everything is possible, and anything could (and will) happen. This festive extravaganza is packed with riotous comedy, extraordinary special effects, hair-raising stunts and international circus acts!

So… roll up, roll up to see panto join the circus, and be swept away by a pantomime spectacular that’s just right. Goldilocks and the Three Bears will run at Darlington Hippodrome from Fri 5 – Wed 31 Dec 2025. For full details or to book call the Box Office on 01325 405405 or visit darlingtonhippodrome.co.uk

Leeds Grand Theatre – until Saturday 26th April 2025

Reviewed by Michelle Richardson

5*****

The award-winning, hit musical, Bat Out of Hell, has returned once again to Leeds Grand Theatre. A rock musical with music, lyrics and book by Jim Steinman. Created mostly out of the iconic Bat Out of Hell albums by Meat Loaf, the show is packed full of explosive rock anthems written by Steinman.

This was my first time of seeing Bat Out of Hell, and apart from knowing it centred around the music of the late, great Meat Loaf, I knew nothing else. I was pretty sure this show would be right up my street. You could tell as soon as you arrived at the theatre that it has a large fan base. There was a buzz in the air, Bat Out of Hell t-shirts everywhere, talk of how many times people had been to see the show, the highest I heard was 29, since its debut in 2017. The icing on the cake was the thunderous motorcade driving around the theatre. Riders from Aire Valley and St Leger HOG put on a fabulous show, revving their magnificent machines whilst we had the chance to take photos and videos. What a truly electrifying start, and that was before we had even entered the theatre.

Roughly based around the story of Peter Pan and the Lost Boys, it follows the story of a dystopian world. Set in Obsidian, where the tyrannical Falco (Rob Fowler) runs the city with an iron fist. He lives in his ivory tower with his jaded, unhappy wife Sloane (Harriet Richardson-Cockerline), and bored, sheltered daughter Raven (Katie Tonkinson). Strat (Luke Street) is the 18-year-old leader of The Lost, a ragtag band of youthful misfits, who will never grow old. They live in the tunnels that wind under the city, outcasts, vilified by Falco. Their lives will never be the same again once Raven meets Strat, and they find romance and heartbreak.

The set worked very well, with the stage having three different distinct areas. One for the supremely talented musicians, elevated to the left at the back of the stage, another top right for the Falco family home, and the lower stage depicting the tunnels where The Lost hang out. As part of the show, a cameraman is frequently filming, especially in the Falco’s area, which is then relayed onto screens on the stage. This is something I have never seen before, and though I did find this distracting at first, I got used to it and it added another dimension to the story telling. Though the stage is dark, the props, which included a motorbike and car, and the 80’s inspired outfits and hair certainly aren’t.

All the cast are pretty amazing with their high energy dancing and incredible singing capabilities. Standouts are Luke Street as alternate Strat. He was charismatic to watch, encapsulating the essence of his eccentric complex character. His vocals just smashed it, he has such an amazing ability. His rendition of Bat Out of Hell was sublime. I was so glad I got to see his performance. Understudy Harriet Richardson-Cockerline, as Sloane, has such a powerful voice, you cannot help but be wowed by her. Her, and the equally impressive Rob Fowler, share great chemistry, their raunchy performance during Paradise by the Dashboard Light was just hilarious. Check out the pink undies.

Bat Out of Hell is an exhilarating production, stacked full of great Meat Loaf/Steinman tunes that we all know and love. Yes, it may be a bit wacky, loud and ridiculous, but it is up my street and thoroughly deserved the standing ovation at the end of the night. A rock music extravaganza from start to finish.

I can understand why this show has such a following and I would definitely go and watch it again and again.

Royal Shakespeare Theatre Stratford-Upon-Avon – until 24th May 2025

Reviewed by Amarjeet Singh

3***

Swap a victorious battle for a triumphant football match, soldiers for footballers and you have director Michael Longhurst celebrity spin on a Shakespearean romantic romp. Top players Claudio and Benedick play for FC Messina, the latter a confirmed bachelor, the prior falls in love with Hero, an aspiring popstar and the daughter of Leonato, a club owner. A huge WaG wedding is planned, but Claudio is deceived by a malicious deep fake plot and denounces Hero as unchaste before they marry. She faints at the alter and is believed dead, but all is not what it seems. Hero’s cousin Beatrice, a feisty football commentator, and confirmed singleton, is caught up in a plot with Benedick, both are duped into believing the other is in love with them. Denying their true feelings, he attempts to win Beatrice over by defending Hero’s honour and challenging his friend Claudio for trashing Hero’s reputation.

I can’t help but feel that Longhurst drops the ball a bit with this rendition. There are some very clever ideas and elements with the use of multimedia and its ability to amplify and distort gossip in this modern world. Unfortunately, it’s all a bit much. Screens, cameras, jacuzzies, statues, fountains, karaoke, projected messages, fellatio, threesomes and then some, all distract from the actual theatrical performances. The football setting genuinely works, but by the second half of the play, the motif is mostly redundant.

A beautiful working jacuzzi/pool/fountain sits centre stage upon a marble effect floor. There are banner screens around the top of the stage and a large screen angled at the top front facing and the back. These work brilliantly in the beginning. Entering the theatre we are treated to a match like feel, the sound of a roaring crowd, seeing the banner score scroll across the screen lets us know the winning score. The players come running onto the stage, into a dressing room to cool off in the pool. Designed by Jon Bausor and lit by Jack Knowles, it’s stunning, but elements are distracting. Characters running on wet floors set my heart racing whilst knocked chairs left on stage during the wedding threatened to trip characters up. Tal Rosner’s social media notifications and messages repeatedly popping up on screen were sorely overused as were video footage and cameras.

There is a heavy leaning into the dark misogynistic shaming of a woman over rumours of her having an illicit tryst. How quickly she goes from Hero to zero. The trolling, the unexpected rejection from her doting daddy, double standards and quite sinister imagery. The American Horror Story bulls head and naked torso before a threesome were particularly disturbing. These didn’t quite marry up with the immediate candyfloss happy ending, when suddenly everything was happily ever after.

There were some great comedic moments, Benedick overhearing the news that Beatrice is in love with him whilst trying to hide behind a masseuse table and his wonderful escape into the pool was perfection. However, some of the jarring Watch scenes could have happily been edited out. This production is wonderfully and diversely cast. Freema Agyeman and Nick Blood sizzle as Beatrice and Benedick, delighting us with their dance of denial, chemistry oozing from them with every curse and kiss. Daniel Adeosun plays the cocky Claudio confidently, alongside Eleanor Worthington-Cox’s poised performance as Hero, they make a couple worthy of the cover of any WaG’s mag. Tanya Franks is a potent Antonio, challenging chauvinism. Antonio Magros and Nick Cavalieres have brilliant comic timing as the Watch even if the scenes were occasionally out of place in this production. Oliver Huband is wonderfully smooth, suave and sophisticated as Don Pedro, perfectly balancing out Peter Forbes’ smarmy Leonato.

This version of Much Ado About Nothing feels forced and full on. Longhurst, overwhelms and overstimulates audiences by throwing everything into it, so we lose the authenticity and simplicity of Shakespeare’s tale and are left waiting for a streaker on the pitch.