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Lyric Theatre, London

Reviewed by Rhys Payne

4.5****

Having booked tickets for Showstopper! at the Lyric theatre in London I was very perplexed as to how you perform an entirely improvised musical but I have to be honest it was one of the most entertaining shows I have seen in a long time and I already can’t wait to see it again.

Before seeing the show I realised I had to write a review for the performance which really did fill me with a lot of angst. The purpose of a review is to say this show is really good or not and encourage people but this is extremely difficult as the show I saw will be nothing like the show that someone else will see. Due to this I can’t really comment or promote the content of the show but instead the atmosphere and emotions it invokes. I have always wanted to see a live performance of improvised theatre as I have only ever seen it in shows on tv and it seemed like a barrel of laughs so to actually get to see something improved was great but it is an entire musical took it to a whole other level!

The first thing you need to keep in mind for this show is that it could be considered as a show perfect for extreme musical theatre fans. This was the most obvious thing that was clear even before the show opened. When I walked into the theatre we were greeted with a medley of musical theatre classics which had the majority of the audience sang (and danced) along to. This is a new thing for me to see an audience who got so involved with the production before it even opened but I guess this was to ease the audience into any audience participant sections later in the show. This concept was also used to give the audience ideas and suggestions for the story which I will discuss later.

As I have already said this is an entirely improvised musical which means every show is different. This is facilitated by narrator asking the audience for a collection of possible locations which is then voted on by the rest of the audience, next the audience are asked for musicals they like and modified versions of certain songs in the musical will appear in Showstopper! (which shows the talent of both the performers and the band that were on stage) and finally the audience is asked for a title which once decided upon the person who suggests the name gets given a prize in act two. With this in mind, in an ideal world, I would want to watch this show again with just me in the audience so I can suggest all the musicals I enjoy.

In this performance it took place in a McDonald’s with songs inspired by Hamilton, West Side Story, Come From Away and We Will Rock You which are not musicals that I am particularly familiar with but I was still able to appreciate the skills and talent being showcased.

This was performed by an extremely talented cast who clearly have a strong bond and connection in and off stage. They were able to flawlessly bounce off each other with the quick wit and hilarious jokes which made for a very easy to watch and enjoyable show to watch. Even when mistakes were made, for example, character being called the name etc, they were acknowledged on stage in a hilarious manner and within the world, the show was set it. I often see shows were I think the cast is talented and stuff but these people involved in Showstopper! clearly know the craft inside and out and are able to work together excellently which is an exceptional skill that many shows do not contain.

Overall this was a hilarious and enjoyable show however I believe I may have missed some of the musical references due to the fact that I am unfamiliar with the shows that were chosen. However, I would strongly encourage everyone to catch the chaotic musical in the Lyric theatre as it is only performed once a month and only two performances before it is gone for good!

New Victoria Theatre, Woking – until 22 January 2020

Reviewed by Becky Doyle

4****

For someone who had gone to see this show without a real knowledge of Carole King, her music or her history I can honestly say I thoroughly enjoyed it… Even to the extent that I was listening to her music on my drive home. A gorgeous story of young love with drive, passion and ambition along their journey.

It took me a little while to buy into the American accident, but I soon didn’t realise as the music, singing and story evolved. Carole was portrayed so well by Daisy Wood Davis, she made it easy to feel love and sympathy towards at times a naïve, vulnerable but hugely talented girl. Her singing voice captivated the room as did the dancers from the ensemble whose energy made you want to get up on stage and join in.

The set used fantastically to portray different rooms, settings and needs – quite simple yet fully capable of drawing you in. The only way you reaslised that time was passing by was through fashion choices and hairstyles, a really clever way to carry the audience on the journey.

The whole cast were fantastic, Laura Baldwin and Cameron Sharp (Caynthia Weil and Barry Mann) allowed for healthy competition but also a budding friendship and romance and Adam Gillian (Gerry Goffin) was the initial heartthrob who turned into the villain when you realised he was a man who was never going to change…

The finale was literally the meaning of the word “Beautiful” Carole in her long flowing blue dress and her performance at Carnegie Hall, which again Daisy’s voice was phenomenal left myself and from the dancing and singing around, the rest of the audience falling a little bit in love with Carole King.

Highly recommended

Windsor Theatre Royal – until 22 February 2020

Reviewed by Carly Burlinge

3.5***

Billionaire Boy is written by David Walliams and directed by Neal Foster it’s about a boy called Joe (Matthew Gordon) who’s dad (Jason Furnival) becomes rich by making his millions from toilet paper. One side dry and the other moist, revolutionising wiping bottoms forever with his company “Bum Fresh“.

Although they have all the money in the world, Joe is still very unhappy and all his father can do instead of spending time with him in which he is craving, is to throw money at him. In his pursuit for happiness he leaves his posh school to enrol into the local comprehensive where nobody knows his background, or just how rich he is! Hoping to find a friendship and hoping to put behind him his unhappy unfulfilled life. It soon becomes apparent that no matter how much money you have it doesn’t always make you smile or make you happy.

Joe who seems quite jolly and enthusiastic but deep down is sad and looking for a friendship in which he finds in Bob (Davy Bell) who comes across quite nervous at times, seems to over think as well as over talk. He has many gestures but plays the part well, they play best friends, both give a strong performance and show a  good connection throughout with each other.

Dad (Jason Furnival) a salt of the earth character believing that anything could be brought with money he played an effective and convincing part.

Raj (Aosaf Afzal) played a very excited, loud and over chatty character at all times, trying to sell his shop products. Any question you have, he’s there all day, if there’s a problem, he around to answer it. You’ll definitely know about all his special offers and promotions. He was very funny to watch and had the audience laughing on many occasions.

Sapphire (Rosie Coles) plays a very over the top, no class, demanding, ditsy, money grabbing girlfriend she plays it well and is very focused.
Mrs Trafe (Emma Matthews) who was loud, inventive and over enthusiastic with her food, such as the blu tack special, she loves to be in the lime light and had the audience clapping away.

All actors brought the characters to life with some great costumes thrown in. The show offered some very enjoyable songs where the audience clapped and joined it giving the show a good sense of liveliness throughout.

The set was done extremely well using lots of boxes as well as toilet rolls in order to set the scenes, simply by opening them up and turning them into many different props. For instance a set of boxes opened turned into the local shop and for the class room a few boxes that turn into a cupboard of teachers supplies and a desk then turning the area into a class room. All  very effective and gave many opportunities for different areas to be used for different scenes.

All in all a good lively, imaginative, enjoyable show for all to watch.

Princess Alexandra Auditorium – 17 February 2020

Reviewed by Lyall Mum & Son

5*****

The Sooty Show is a fantastic production which is keeping the legendary Sooty and his gang alive. Richard Cadell is the perfect host for this show with his comedy and magical elements for the children and the adults! Little Lyall has never seen or heard of Sooty before so this would be the perfect way to introduce the show to him. As soon as the show began the theatre was filled with colour, magic, sparkles, songs and entertainment, to then we were introduced to the little gang which really put a smile on little Lyalls face! Mine as well…. 

Richard and the casts enthusiasm and energy is none stop which is perfect to keep those little ones engaged. We see typical pantomime elements such as “Where is Sooty?” and Sooty popping out in a variety of places on the stage. Water pistols being squirted into the audience and Sweep being the typical comic who has a thing for bopping Richard in the face and interrupting sketches.

Not forgetting the beautiful moment when Richard brought a little girl on stage for her to perform some magic. With the famous words “Izzy Wizzy Lets Get Busy” this little girl was astonished with what was happening. She was literally lost for words. Not giving this magical part away she really had a flying dream. 

Not forgetting Richards magician friend who makes a wonderful appearance to perform his own magical acts. This young magician is full of energy and really brings a wow affect to this show. 

Highly recommend to go and see this show and celebrate the 70 years of Sooty being alive! Introduce him to the little ones.

Little Lyall will not go to bed without his Sooty bear now!

A huge thank you for the entertainment to Richard, Sooty and the rest of the gang.

Princess Alexandra Auditorium – 16 February 2020

Reviewed by Lyall Mum & Son

3***

Puss In Boots is a typical story telling production with wonderful bits of detail to keep us reeled into the story. We meet Patrick Lynch who begins to tell the story of Puss In Boots by introducing a man called Felix and his two brothers. We learn that Felix and his brothers were given things to keep from their Father and Felix was given a cat whilst the two brothers were given farmers fields, donkeys and many more to keep their own family’s running.  Felix is struggling living with just his cat but he is not aware how much this cat will bring to him.

Patrick delivers this one man show with minimal set, props, costume and lighting. It seems quite dark for a childrens show to begin with but as we get into the story we begin to understand what this production is about. The small elements are very clever as Patrick is able to tell this wonderful story but also have the audience to use their imagination which can be a very magical use. The clever set was able to produce an oven, a lake, fields, a ramp for mice to run down and also the home of an ogre. Patrick is able to bring his story telling, puppetry and acting skills into one.

Unsure that this production was suited for 4 year olds due to their attention span but little Lyall who is 6 stated he did enjoy it but was Shrek in the story? He thought the ogre was indeed Shrek….

A clever production with a variety of magical elements and detail. If you are one for the theatre and into your styles and story telling, this is a production for you.

OSO Arts Centre, Barnes, London SW13 – until 22nd February 2020 VAULT Festival, Crescent, Leake Street, London SE1 – 6th–8th March

Reviewed by Antonia Hebbert

3***

In a dreamlike set with a big paper moon and stars, this show puts together the poetry of Roger McGough with the acrobatic skills of performers from Feathers of Daedalus circus troupe. While McGough’s poetry plays with words and follows curious threads of thought, the circus artists provide a physical counterpoint, rolling and flowing around the small performance space with handstands, puppetry, juggling and other turns that are beautiful to watch.

The poems span 30 years of McGough’s work, and follow a sequence through the day, from waking up and going to school, to night-time and dreams. There is a lot of charm here, and the playfulness of McGough’s poems should be well suited to the playfulness of circus skills. They both take you by surprise with counter-intuitive inventiveness.

The combination didn’t entirely work in the performance that I saw, which was geared to the very young (pre-school) children in the audience, while McGough’s poems seem to belong most to older children, of at least primary age. As he says himself, ‘When writing poems for children I have in mind the daydreamer, the one who is always staring out of the classroom window …’ It was very sweet and gentle, but the jokes and puns and word play didn’t always come across strongly, and the darker poems felt a little too dark for the tinies.

It will probably be very different with a more rambunctious school-age audience for the performers to play up to. Alongside the show, McGough and Feathers of Daedalus are also running children’s poetry workshops, which sound like fun. Joanna Vymeris directs.

Mikron Theatre Company present

A Dog’s Tale

A new play by Polly Hollman

Director: Rachel Gee

Composer and Musical Director: Rebekah Hughes

Designer: Celia Perkins

Cast: Rachel Benson, Thomas Cotran, James McLean and Elizabeth Robin

Mikron Theatre, in their 49^th year of touring,  are celebrating (wo)man’s best friend this season when they stage the premiere of Polly Hollman’s new comedy caper A Dog’s Tale, which looks at canines past and present and the enduring love between people and their dogs.

You’d be FURgiven for thinking that Mikron is just another run of the mill theatre company, but you’d be BARKING up the wrong tree. 2020 will see them LEAD you on a unique journey. It’s a PAWsome show you won’t be able to TERRIER yourself away from.

A Dog’s Tale will kick off its tour at Marsden Mechanics Hall on the 23rd May and then tour nationally by canal, river and road until 24th October.

Linda and her wayward rescue dog Gary are pursued by security through the halls and history of Crufts, accused of a terrible crime.

When Charles Cruft, the ‘Greatest Showman in Dogdom’, held his first show in 1891, he had a sense that dog ownership and breeding was about to become pretty big.

In this extraordinary world of heroic hounds, pampered pedigrees and naughty nobblers, does Gary have what it takes to win the day?

A Dog’s Tale is directed by Rachel Gee , designed by Celia Perkins, music composed and directed by Rebekah Hughes. The cast will feature Rachel Benson (Redcoats, Mikron Theatre ), Thomas Cotran (Loserville, Union Theatre), James McLean (Much Ado About Nothing, Northern Broadsides) and Elizabeth Robin (The Little Mermaid, Everyman Theatre, Liverpool).

Why a play about dogs? Why not? Mikron tells the stories of the people behind the big events in history and the things that are close to our hearts. A great story, cracking songs and versatile quartet of actor musicians will guide audiences through the halls and history of Crufts.

Playwright and cat lover Polly Hollman said about her new play:

I’ve written over twenty characters to be played by only four actors, but I know they’ll enjoy the challenge of bringing it to life! I was picked to write the play after participating in Mikron’s 2018 Writer’s Scheme: it’s my first professional commission. It’s been a delight to work for Mikron, a company whose creativity and ethos I love. I can’t wait to see them work their magic on ‘A Dog’s Tale’.

I spent two fascinating days at Crufts last year, eavesdropping on competitors and trying to work out which dog would win in each competition (success rate: zero). People were very friendly and frank in sharing their suspicions about judging bias. ‘Well, you know, that dog will win because it’s Scottish and so is the judge!’ (it did win). My impression of Crufts was that whilst dog participation was on a fairly exclusive basis, a huge variety of humankind was in evidence, on two legs or four wheels. Testament perhaps to the huge importance of dogs to many different people in their roles as pets, medical assistance dogs, working dogs and more. It’s also true to the founding principles of Charles Cruft, who charged only a penny so that everyone could enter their best friend.

“A Dog’s Tale is my first directing job with Mikron and it’s the ideal show for me as a dog owner. We can’t wait to welcome audiences (and their dogs) to shows up and down the country. Dog lover or not, this is the perfect night out for fun, laughter and wonderful songs.”

The atmosphere at most Mikron performances is disarmingly informal, but don’t mistake informality for simplicity – in its laidback way, it’s an ambitious undertaking, and dogs are welcome at most Mikron venues

In 2020, Mikron Theatre Company will embark on their 49th year of touring.  Based in the village of Marsden, at the foot of the Yorkshire Pennines, Mikron Theatre Company are like no other. For starters, they tour for most of the year on board a vintage narrowboat, secondly, they put on their shows in places that other theatre companies wouldn’t dream of; a play about growing-your-own shown in allotments, a play about bees performed next to hives, a play about chips to audiences in a fish and chips restaurant, as well as plays about hostelling in YHA Youth hostels and the RNLI at several Lifeboat stations around the UK.

A Dog’s Talewill be touring nationally in the Summer alongside the previously announced new play by Amanda Whittington Atalanta Forever.

For further information on both shows please visit http://mikron.org.uk

Royal & Derngate relaunches Singing 4 Pleasure sessions with a focus on musicals

As a new term is due to start for Royal & Derngate’s Singing 4 Pleasure initiative, the project is being relaunched with a new focus on musicals. The weekly daytime singing project for members of the local community, which restarts on Wednesday 4 March, is for people from all walks of life who want to come along to sing and socialise.

Singing is widely recognised as being good for your well-being and these daytime sessions, run by a professional music tutor in a relaxed and friendly setting, provides a great opportunity to develop vocal skills while making new friends. There is no audition process and no experience is required.

This term the sessions will be led by local music practitioner Lucie Barnes who specialises in Musical Theatre and will be working on a wide variety of good old-fashioned sing-a-long songs as well some great contemporary numbers

Lucie has been teaching singing and music for the past 10 years, both with children as part of Glee4Kidz and with individuals and adult groups as part of The Voice Within, and has been Musical Director for a number of choirs with a mix of abilities. Lucie explains: “As musical director, my role is to ensure my singing groups are friendly and fun-packed, enjoying a range of popular songs. Everyone is welcome.”

The emphasis will be on fun and pleasure, allowing participants to explore their singing ability through vocal warm-ups and learning a fun mix of accessible music.

The newly relaunched Singing 4 Pleasure sessions will take place at Royal & Derngate on Wednesdays, starting on 4 March, at the new time of 12.30pm to 1.30pm, and will run during term-time only. The sessions will cost £6 a week, payable termly. For more information or to book a place, contact Royal & Derngate’s Audience Development Co-ordinator Janet Gordon on 01604 655733 or email [email protected].

PREVIEW ANNOUNCED FOR TUE 3 MAR 2020

1,500 TICKETS AT £15 EACH

ON SALE 10AM, MON 24 FEB IN PERSON ONLY

“The best musical of this century.”

Ben Brantley, The New York Times

An additional preview is announced today for the upcoming Birmingham Hippodrome season of The Book of Mormon on Tuesday 3 March 2020 at 7.30pm. This will be the first chance for fans to see the much-anticipated Broadway smash hit in Birmingham.

Over 1,500 tickets for this first Birmingham preview will be priced at just £15 each and will be available to purchase in person only via the Birmingham Hippodrome Box Office, located on Thorp Street, from 10am on Monday 24 February 2020. Tickets will be issued as a maximum of two per person on a first come first served basis

The Tony®, Olivier® and Grammy® award-winning show plays at Birmingham Hippodrome through to Saturday 28 March 2020 with tickets available via www.thebookofmormonmusical.com and www.birminghamhippodrome.com.

The cast of The Book of Mormon in Birmingham will be led by Robert Colvin as Elder Price and Conner Peirson as Elder Cunningham. They are joined by Nicole-Lily Baisden as Nabulungi, Will Hawksworth as Elder McKinley, Ewen Cummins as Mafala Hatimbi, Johnathan Tweedie as Joseph Smith and Thomas Vernal as the General.

The company will include Jed Berry, David Brewis, Melissa Brown-Taylor, Chinasa, Sanchia Amber Clarke, Tre Copeland-Williams, George Crawford, Tom Dickerson, Jordan Lee Davies, Jemal Felix, Olivia Foster-Browne, Patrick George, Isaac Hesketh, Evan James, Alex James-Hatton, Nicole Louise, Fergal McGoff, Jesus Reyes Ortiz, Lawrence Rowe, Lukin Simmonds, Chomba S Taulo, Tommy Wade-Smith, Sharon Wattis and Jacob Yarlett.

Trey Parker and Matt Stone are the creators of the Emmy and Peabody award-winning television show, South Park, now in its twenty-second season, and the feature films South Park: Bigger, Longer & Uncut and Team America: World Police.

Robert Lopez co-created the Broadway musical Avenue Q and co-wrote the songs for Disney’s Frozen and Coco. He is one of only fifteen artists to win all four major entertainment awards – Emmy®, Grammy®, Oscar® and Tony® Awards.  

The Book of Mormon follows a pair of Mormon boys sent on a mission to a place that’s a long way from their home in Salt Lake City.

Since making its world premiere in March 2011 at New York’s Eugene O’Neill Theatre, where it won nine Tony® Awards, including Best Musical, The Book of Mormon has been performed on three continents and won over thirty international awards. The musical has smashed long-standing box office records in New York, London, Melbourne, Sydney and cities across the U.S.

The London production opened in February 2013, winning four Olivier Awards® including Best New Musical, and breaking the record for the highest single day of sales in West End history. It has sold out every one of its 2857 performances to date at the Prince of Wales Theatre.

Book, Music and Lyrics are by Trey Parker, Robert Lopez and Matt Stone.  Directed by Casey Nicholaw and Trey Parker, The Book of Mormon has choreography by Casey Nicholaw, set design by Scott Pask, costume design by Ann Roth, lighting design by Brian MacDevitt, sound design by Brian Ronan, orchestrations by Larry Hochman and Stephen Oremus and music supervision and vocal arrangements by Stephen Oremus.

The Book of Mormon is produced by Anne Garefino, Scott Rudin, Important Musicals and Sonia Friedman Productions.

The Book of Mormon comes to Birmingham Hippodrome from Tuesday 3 – Saturday 28 March 2020. Visit birminghamhippodrome.com or call 0844 338 5000 (4.5p per minute plus your phone company’s access charge) for more information and to book.

Conner Peirson is appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange programme between American Equity and UK Equity.

NEW PRODUCTIONS OF CAT ON A HOT TIN ROOF AND A CHRISTMAS CAROL TO RECEIVE LONDON PREMIERES AT ALEXANDRA PALACE – TICKETS ON SALE TODAY

Alexandra Palace’s restored Victorian Theatre will present the London premieres of two new productions later this year; Tennessee Williams’ Cat on a Hot Tin Roof (30 September – 11 October) and a new adaption of Charles Dickens’ A Christmas Carol by Mark Gatiss (27 November – 10 January). Tickets for both productions are on sale at  www.alexandrapalace.com/whats-on/

A co-production between Alexandra Palace, Curve, Rose Theatre and English Touring Theatre, and supported by grant funding from the Royal Theatrical Support Trust (RTST), Cat on a Hot Tin Roof will be directed by Anthony Almeida, winner of the 2019 RTST Sir Peter Hall Director Award with set and costume design by Rosanna Vize.

On a sweltering Mississippi night, the lies are as stifling as the heat.

Maggie has fought up from poverty, only to find herself in a passionless, burning marriage. Her husband Brick, a former pro footballer, drinks to drown out the hurt he has bottled up inside.

When the entire Pollitt family meet for Big Daddy’s 65th birthday, the claws are out.  As shattering truths threaten to spiral out of control, the family set out to protect themselves, and each other, from falling apart.

This bold new revival of Tennessee Williams’s lyrical Pulitzer Prize-winning masterpiece is a blazing portrayal of what it takes to survive in a society where we’re all desperate to feel free. The production will open at Curve from 11 – 26 September before playing Alexandra Palace on the 30 September – 11 October and Rose Theatre ahead of a UK tour.

Over the festive period, a brand-new adaptation of Dickens’ classic Christmas tale, written by Mark Gatiss and directed by Adam Penford, will play the Alexandra Palace Theatre. Produced by Eleanor Lloyd Productions and Nottingham Playhouse, A Christmas Carol will premiere at Nottingham Playhouse, prior to its London premiere at the Palace with opening night on 3 December.

It’s a cold Christmas Eve and mean-spirited miser Ebenezer Scrooge has an unexpected visit from the spirit of his former business partner Jacob Marley. Bound in chains as punishment for a lifetime of greed, the unearthly figure explains it isn’t too late for Scrooge to change his miserly ways in order to escape the same fate, but first he’ll have to face three more eerie encounters…

Following his acclaimed performance as the king in Nottingham Playhouse’s award-winning production of The Madness of George III in 2018, also directed by Adam Penford, Mark Gatiss (Dracula, The League of Gentlemen, Doctor Who) leads an ensemble cast, in his own retelling of Dickens’ classic winter ghost story, filled with Dickensian, spine-tingling special effects.

Audiences will also have the opportunity to join Mark in conversation with broadcaster and historian Mathew Sweet at the Alexandra Palace Theatre for ON: SCREEN: IN PERSON on the 23 March, a new series of exclusive Q&As featuring major figures in television and film, presented by Big Screen Live.

Hidden for over 80 years the Alexandra Palace Theatre was reopened to the public in December 2018 following a multi-million-pound restoration project which saw the space reawakened and its Victorian features restored. Originally built in 1875 the theatre was home to some of the most advanced stage machinery and mechanics of the age, delighting audiences with a broad array entertainment from pantomime to opera and drama to music hall.

Since reopening just over a year ago, the multi-award-winning space has hosted a wide range of events from theatre to fashion, jazz to opera and stand-up comedy to cinema. The restoration of the theatre, celebrates Alexandra Palace’s enduring story of innovation and entertainment as the charity continues repairing, restoring and maintaining the Park and Palace for public recreation and enjoyment.