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THE CRITICALLY ACCLAIMED PRODUCTION OF

JACQUELINE WILSON’S HETTY FEATHER TO BE SCREENED IN CINEMAS ACROSS THE UK

★★★★★

“Spellbinding”

Daily Mail

The critically acclaimed West End production of Jacqueline Wilson’s Hetty Feather will be screened in cinemas across the UK from 15 April,directed by Sally Cookson and adapted for the stage by Emma Reeves.

Filmed live atNuffield Southampton Theatres, and produced by BroadwayHD, the premier streaming service for live theatre, the full cast includes Matt Costain (Jem/Matron Bottomly), Sarah Goddard (Peg/Ida), Mark Kane (Gideon), Isaac Stanmore (Saul), Phoebe Thomas (Hetty Feather) and Nikki Warwick (Madame Adeline). Having premièred at Rose Theatre in Kingston the production enjoyed a sell-out run at the Vaudeville Theatre in 2014, followed by a run at Duke of York’s Theatre and UK tour in 2015. In 2020, the tale of plucky Hetty Feather is brought thrillingly back to life, captured live on stage for audiences across the UK.

Jaqueline Wilson today said “I absolutely loved the stage production of Hetty Feather. I went to see it many times! It’s so fantastic that I can now see this film and enjoy it all over again. It’s a play for everyone, boys as well as girls, and adults too. I hope everyone loves it as much as me!”

Tony and Olivier Award-winning producers and co-founders of streaming service BroadwayHD Bonnie Comley and Stewart F. Lane said, “Through our streaming service and movie releases, we are working towards making the best of live theatre more accessible to everyone. Hetty Feather is one of those amazing, not-to-be-missed shows that we are happy will be seen by many people who did not get to see it on the stage the first time around.”

★★★★★

“A strong case for the power of invention and the magic of storytelling”

The Independent

ROLL UP and join Hetty on her escape from the Foundling Hospital.

TREMBLE as she faces Matron Stinking Bottomly.

THRILL as she discovers the squirrel house and Tanglefields Travelling Circus.

GASP as she endures a night locked in the attic.

QUAKE as she braves the scary streets of Victorian London and

CHEER as she overcomes all in the search to find her real mother and a true family of her own.

Jacqueline Wilson is one of Britain’s most popular authors, selling over 38 million books in the UK alone, with her most successful and enduring creation being the Tracy Beaker series. In 2002 she was awarded the OBE for services to literacy in schools and in 2008 she became Dame Jacqueline Wilson, and in the same year she became the Foundling Museum’s first Coram Foundling Fellow. From 2005 to 2007 she was the Children’s Laureate. Her upcoming novel Love Frankie will be released in Spring 2020.

Emma Reeves’ theatre credits include Wave Me Goodbye (Theatr Clwyd), The Worst Witch (Vaudeville Theatre/UK tour), Carrie’s War (Apollo Theatre), Little Women (Duchess Theatre), Cool Hand Luke (Aldwych Theatre), The Snow Child (UK tour). Television credits include Hetty Feather, The Worst Witch, Eve, The Dumping Ground, Young Dracula, The Story of Tracey Beaker, Belonging, The Murder of Princess Diana and Spirit Warriors.

Sally Cookson’s credits include Wonder Boy (Bristol Old Vic), A Monster Calls (The Old Vic/ UK tour), The Lion, The Witch and The Wardrobe (Bridge Theatre/West Yorkshire Playhouse), Peter Pan, Jane Eyre (National Theatre), La Strada (The Other Palace), Cinderella: The Fairy Story (Tobacco Factory/UK tour), Ali Baba and the Forty Thieves, One Hundred and One Dalmatians (Tobacco Factory), Romeo + Juliet (Rose Theatre Kingston), Varmints (Sadler’s Wells) and We’re Going on a Bear Hunt (Bristol Old Vic/Lyric Theatre/UK tour).

Feature by Dawn Smallwood

Opera North has announced its forthcoming season with an exciting line up of operas, concerts, and updates of their redevelopment project which will become the Howard Opera Centre. The centre is scheduled to open in 2021.

There are three operas lined up for the autumn season. Firstly Verdi’s La Traviata and this is then followed by an exciting double bill, celebrating the works of Leonard Bernstein, with Trouble in Tahiti and, in collaboration with Phoenix Dance Theatre, West Side Story Symphonic Dances. Thirdly, Jack the Ripper is a new opera, composed by Iain Bell and lyrics written by Emma Jenkins, is jointly commissioned and produced with English National Opera. The story fully focuses on the women of Whitechapel at the time of the killer’s terror.

The winter (2021) opens with Bizet’s Carmen and where Garry Walker, the newly appointed musical director, will make his debut. Handel’s Alcina will follow with its environmentally and responsibly unique production. This opera, for the first time, will recycle, re-use and use second hand materials for its staging, props and costumes. This is in support to join and commit to the plight in responding to the climate emergency. This is finally followed with Puccini’s The Girl of The Golden West which centres on the gold rush.

In addition to the opera there is their orchestral concert season, their audience and accessibility programmes, community engagement work and other project which ensures everyone and everywhere can access.

As usual and always, Opera North has an exciting line up and it continues to creatively and innovatively entertain, educate and address a wide range of issues that matter to one and all.

Riverside Studios – until 17 May 2020

Reviewed by Heather Chalkley

4****

Award winning Poet Christopher Reid wrote two exceptional pieces of work in 2009: A Scattering and The Song of Lunch. Although written and often performed separately, they naturally came together in this piece. When writing them, Reid never imagined they would come to the stage to be performed. However, it seems a fitting tribute to the catalyst of the piece, his late wife and actress, Lucinda Gane.

In the first half Robert Bathurst delivers an elegant and intense performance, bringing to life the rhythm of The Scattering, with the tilt and flow of each part. The emotional intelligence and honesty springs off the page on to the stage. Rebecca Johnson as Lucinda, creates atmosphere, infusing a strong femininity that complements Bathurst.

The Song of Lunch is a great contrast. Bathurst weaves together the dark humour of unrealistic and boyish romantic hopes into an alcohol induced torpor. No mean feat and brilliantly done. Johnson brings strength, poise, anger and indignation, wrapped up in a woman of substance that had a bone to pick! The book of poems he had written based on their relationship is a one-sided fabrication and he needs to know that! Johnson has an emotional effervescence that needs little dialogue.

The use of animation is inspired. Firstly, it reflects the literary origins of the piece. Then, it acts as a silent narrator. This relieves some of the burden of narration from Bathurst and entwines beautifully with the poetry. Director Jason Morell brings distinctly different performance elements together, to create the perfect homage to Reid’s art.

Rose Theatre, Kingstone – until 29 February 2020

Reviewed by Carly Burlinge

4****

“I was both one and zero, creator and destroyer, disease and cure, God and monster.”
Written by Ciaran McConville and Directed by Lucy Morrell comes the retold story of Frankenstein.

When an unknown person boards a vessel talking of a living thing with superhuman powers and speed an unknown creature, that  is of a threatening nature and going to attack!  Captain Ralf Wile (Francis Redfern) who plays a serious part and has general concern for his cargo and all that is aboard.  Tries to keep everything safe and begins to listen to a story that is revealed by the Creator (Eleanor Clark). A very clever scientist who was approached by Mr Kremp (Frankie Oldham) who wants nothing more for her to make a brain from scratch a Living creature! He comes across as quite a powerful man, over talkative and condescending at times but persuades her to start this experiment. Alongside him Mr Kirwin (Louis Mertens) who plays a peculiar man who is  a little creepy and has a strangeness to him.

The Creator (Eleanor Clark)  begins the process, it soon becomes clear that she becomes over obsessed no food, no sleep and she begins talking to herself regarding her developments. Hysteria soon kicks in as well as excitement and the creature is born. Is her creation something with a heart, something with compassion or is she playing with God!!! And how will things be once the creature has escaped  into this world?

The Creature ( Anna Pryce) who has powers unknown, can be manipulating and can take control of others bringing to light the unravelling of a frightening and alarming story that has many twists throughout creating a spectacular production.

The cast all done an exceptional job. You could see that they had a strong connection through the whole of the show. Some of the movements in this production was done exceptionally well offering more depth to the show.

The Set was very detailed and experimental with lots of wiring, different objects hanging such as pieces of sheets, poles and pipes with smoke rising from the depths with the colour green illuminating the masterpiece that was the machine. Also with a deep voice- over being played,  making the set very effective and remarkable to look at. The lighting was exceptional throughout while really highlighting some of the more dramatic scenes and bringing it all together making it a fascinating production to watch.

THE LOWRY, SALFORD – until 29 FEBRUARY 2020

REVIEWED BY ANGELOS SPANTIDEAS

5*****

A Monster Calls, originally a novel by Partick Ness which was also adapted for the big screen, is a play that is all about being vulnerable yet strong in the face of adversity, and how a teenager walks life when his whole world is crumbling down.

The main theme is how teenager Conor is coping and supporting his mom who is going through cancer treatment, while at the same time being bullied at school. Conor seems to be able to stay strong for his mom, however, does not seem to have a safe space to be himself, neither at school, nor at home especially after his grandma’s coming to help support her daughter. With a dad who has moved abroad and started his life over, who does not meet the expectations of a father figure, Conor’s unconscious calls to a yew tree monster to help him understand his feelings and the pain that he has been bottling up.

Ammar Duffus is spectacular at portraying Conor’s teenage struggle, his awkwardness, his pride, and his will to believe that despite being 13, he is strong enough to support his mom. He manages to unveil the reality of when cancer becomes another part of someone’s life, and how him trying to stay strong isolates him from everyone other than his mom. Maria Omakinwa’s performance as the disease ridden mom, who is trying to stay strong and stay positive for her son, is heart breaking showing how parents trying to shelter their kids from the truth often has the opposite results, and how sometimes in order to keep hopeful people often lie even to themselves.

Finally, Keith Gillmore does an excellent job at creating a convincing monster, despite the lack of make-up, prosthetics and being just a man on the stage. His interpretation of being in Conor’s sub conscious and his story telling is impeccable, while his persona succeeds at giving intensity and depth to the character, who grows from a monster to a paternal figure.

Overall, a monster calls is a heart wrenching, emotional, raw play, that unfolds and builds up to a strong and honest finale that confronts with realism the aftermaths of cancer. The set and the visuals are absolutely stunning and accentuate the effect of each scene, while the live electronic

Lighthouse, Poole – until 29 February 2020

Reviewed by Alexandra Browning

4****

Following the successes of a critically acclaimed American sitcom Friendsical brings a new lease of life with a parodic twist. The musical follows the original characters in a cleverly reworked story, of which we have all grown to know and love, with a perfectly musical twist.

Friendsical cleverly brings a fast pace twist to a storyline that many will already recognise, using interchangeable set pieces to recreate the iconic back drops in the cult classic. You get to know the cast of Friendsical in the much loved coffee shop, Central Perk, then are magically transported into Monica’s iconic flat, not to forget that there is the iconic picture frame on the door. This clever use of set and stage work is an unforgettable element to the show and really takes you yo all the truly iconic set locations from the tv show.

Cast and crew of the musical are immediately recognise-able, with Chandler Bing, Thomas Mitchells, being the spitting image of his on screen counterpart. The energy that Mitchells brought to the stage was quintessentially Bing and really brought home comforts from the original sitcom. Another stand-out member of the cast was Ally Retberg who brought both Phoebe and Janice to life with such a chaotic energy. Retberg felt like the perfect actor for the job at hand as she captures the quirkiness and embodies phoebe wonderfully – not to mention is the perfect Doppelgänger of Janice, whom absolutely nails the laugh.

Musical hit “Geology Rocks” was a personal favourite as this hit had the perfect balance of quirky comedy and on stage drama. The hit sees Ross Geller, Ewan Gillies, demonstrate his fantastic vocal skills with the very theatrical addition of two dinosaurs, the two dinosaurs brought a very comical twist and were just the light hearted joke the scene needed, prompting the audience (as the show is filmed in front of a live audience) to join in and give a very big laugh.

Overall Friendsical gave the perfect will-they-won’t-they reworking the original show, with comedy content and some of the musical hits from Phoebe, being just as good as the original show. Although she does have some strong competition from the rest of the cast in this adaption. Friendsical makes it very clear that they were never ‘ON A BREAK’!!

Greenwich Theatre – until 7 March 2020

Reviewed by Claire Roderick

4****

Lazarus Theatre open their 2020 season with a fiercely modern Macbeth that is instantly recognisable as a Lazarus production.

Director Ricky Dukes has made some very effective cuts and changes – no “comedy” porter, and the interminable messengers describing battles are absent making the progress from Macduff learning of the murder of his family to his showdown with Macbeth much more tense and immediate. Duncan is no longer the old worthy, but a young wide-eyed, almost child-like, king who we see crowned at the beginning of the play. Malcolm and Donalbain are his younger brothers. For me, this makes the Macbeths’ betrayal slightly less heinous, but an older character would seem out of place in this high energy production. The cast are in modern dress, smartly suited and booted – until the blood is spilt and the Macbeths’ men get filthier as their lord and lady get more violent and unhinged.

The Weird Sisters (David Clayton, Cameron Nelson and Hamish Somers) are exactly that – just weird and a little sad rather than supernatural. Wearing stained aprons and gloves and brandishing microphones, they speak their prophecies to Macbeth and Banquo with an almost detached manner, and after donning bizarre masks their muffled incantations around their cauldron have the intonation of voiceover artists speeding quickly through dodgy terms and conditions in adverts. I loved this humanising and weakening of their powers as it highlights the question of just how much of a push Jamie O’Neill’s Macbeth actually needed to make a murderous grab for the throne, and who is creating the apparitions that haunt him. O’Neill is full of simmering fury as Macbeth, and his naturalistic delivery creates a much more nuanced character than the norm. Alice Emery is a magnificent Lady Macbeth, full of frustrated ambition in a male dominated world, and the force of personality she exerts on Macbeth is palpable. In contrast, her sleepwalking scene is extremely understated, enhancing the shock of her vulnerability.

Ricky Dukes keeps the most successful elements from previous productions – gold confetti showers down on three very different kings as they are crowned, rather than battles, paper is strewn and chairs turned over s the cast scream and race around the theatre, haze and torchlight enhancing the jeopardy, and some inspired lighting design, and it all works together wonderfully. The impressive cast are all utterly convincing switching between roles and have a fantastic and exciting energy together onstage.

A fantastic start to the new season – this is a thrilling and powerful Macbeth full of invention and innovation.

Jack Studio Theatre – until 7 March 2020

Reviewed by Claire Roderick

4****

Angel Theatre Company return to the Jack Studio Theatre with another trio of short Beckett plays. Directed by John Patterson, this is a fascinating and thought provoking hour full of powerful performances.

In Not I, Samantha Kamras takes on the role of Mouth, with just her spot lit mouth visible through a hole in a black panel. Stuttering and starting through a voiceless woman’s recollections of traumas, babbling repetitions and long pauses before forcing out the words, Kamras uses much more variety and musicality in her tone than other performances I have seen, creating more immediacy in a highly technical and mesmerising performance.

The second piece, Catastrophe, feels like the light relief in the programme, although it has a lot to say about agency and the whims of the powerful, as the director (Stephen Donald) gives not picking notes to his white coated assistant (Joanna Clarke) as she poses Louis Fox until the visuals finally meet with his approval. The tiny adjustments and the assistants reactions to the archetypal powerful director create laughter, but the final moment from Louis Fox brings the audience back down with a punch to the guts.

Throughout all this, Anna Bonnett sits motionless on stage under a washcloth until she is uncovered for Rockaby. I once heard someone say that Rockaby was Miss Havisham on downers playing a human metronome, and can’t fault that description. Instead of mourning her nuptials, this old woman seems to be searching for memories of her mother and signs and reassurances of life among the windows she sees from her own as her empty existence is measured out by each rock of her chair. Bennett sits motionless as she rocks, voicing few words as she asks for more from the voice that accompanies her rocking, but slowly and almost imperceptibly portraying the demise of the woman in a masterful performance. The voice-over is repetitive and cheeriness, intoned in a rhythm which works with the action onstage to create an unsettling yet soporific atmosphere that is uncomfortable to watch but well worth the effort.

This production will delight lovers of Samuel Beckett and also be an entertaining introduction to his work.

SHOWS SET TO LAUNCH THEIR FIRST UK TOURS HEAD TO LEEDS GRAND THEATRE

• HEATHERS THE MUSICAL, CILLA THE MUSICAL, DREAMGIRLS AND SCHOOL OF ROCK TO RUN AT LEEDS GRAND THEATRE
• PRIORITY ON SALE FRIDAY 28 FEBRUARY. GENERAL ON SALE WEDNESDAY 4 MARCH

In a year that sees many West End and Broadway shows announce their first UK tours, Leeds Grand Theatre can reveal that cult classic HEATHERS THE MUSICAL will run from Tuesday 3 to Saturday 7 November 2020, DREAMGIRLS from Tuesday 13 April to Saturday 1 May 2021 and Andrew Lloyd Webber’s SCHOOL OF ROCK from Monday 17 to Saturday 22 May 2021. CILLA THE MUSICAL will also return from Monday 9 to Saturday 24 November 2020.

HEATHERS THE MUSICAL. Tuesday 3 to Saturday 7 November 2020.

In the immortal words of Heather Chandler, “Honey whatcha waitin’ for?”, The Grand is one of the first venues announced on the highly anticipated 2020 UK tour of HEATHERS THE MUSICAL (WhatsOnStage 2019 award for Best New Musical). 

Produced by Bill Kenwright and Paul Taylor-Mills and directed by acclaimed American screen and stage director Andy Fickman, this high-octane, black comedy, rock musical is based on one of the greatest cult teen films of all-time starring Winona Ryder and Christian Slater. Its West End premiere saw it become the highest grossing show at The Other Palace, and subsequently had spectacular success on transferring to the Theatre Royal Haymarket.

The 2020 Class of Westerberg High will be announced shortly…

DREAMGIRLS. Tuesday 13 April to Saturday 1 May 2021.

Sonia Friedman Productionsis delighted to announce that Leeds Grand Theatre will welcome the sensational, multi-award winning new production of DREAMGIRLS’ on its first ever UK tour.

Featuring the classic songs And I Am Telling You I’m Not Going, Listen and One Night Only, DREAMGIRLS had its critically acclaimed West End Premiere in December 2016 at London’s Savoy Theatre, 35 years on from opening on Broadway.

Meet The Dreams – Effie, Lorrell and Deena – three talented young singers in the turbulent 1960s, a revolutionary time in American music history. Join the three friends as they embark upon a musical rollercoaster ride through a world of fame, fortune and the ruthless realities of show business, testing their friendships to the very limit.

In 2006, DREAMGIRLS was adapted into an Oscar^® winning motion picture starring Beyoncé Knowles, Jennifer Hudson, Eddie Murphy and Jamie Foxx.

SCHOOL OF ROCK. Monday 17 to Saturday 22 May 2021.

Based on the hilarious hit movie, Andrew Lloyd Webber’s SCHOOL OF ROCK follows Dewey Finn, a failed, wannabe rock star who decides to earn a few extra bucks by posing as a substitute teacher at a prestigious prep school. There he turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band – sensationally performed live by the production’s young actors every night with roof-raising energy!

School of Rock – The Musical features 14 new songs from Andrew Lloyd Webber with lyrics by Glenn Slater (The Little Mermaid, Sister Act), plus all the original songs from the movie and a book by Julian Fellowes (Downton Abbey). It is directed by Laurence Connor (Joseph and the Amazing Technicolor Dreamcoat, London Palladium 2019).

The production opened at the New London Theatre (now the Gillian Lynne Theatre) in November 2016 to 5-star reviews and widespread critical acclaim. It went on to win the Olivier Award for Outstanding Achievement in Music.

Book online at leedsgrandtheatre.com or call Box Office on 0844 848 2700