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Theatre Royal, Haymarket – until 28 April 2019

Reviewed by Alexandra Sykes

4****

Where is Peter Rabbit? is a show for people of all ages as the stories written by Beatrix Potter are timeless and will never get old.

Where is Peter Rabbit? brings to life the stories of Mr Jeremy Fisher, Mrs Tiggy-Winkle, Mr Tod, Jemima Puddle-Duck and of course Peter Rabbit. The stories are beautifully narrated by Miriam Margoyles and Griff Rhys Jones whilst the characters themselves are brought to live by Charlotte Harrington, Samuel Knight, Grace Osborn and Matthew Whitby, with Beatrix Potter being played by Joanna Brown.

The puppets are life like and the detailing is impressive, with all the puppets being based on Beatrix Potter illustrations from the original books. The sets are simple but productive and each one represents a scene from a tale, be it Mrs Tiggy-Winkles, with all the washing that she does; the pond, where Mr Jeremy Fisher likes to go fishing or Mr McGregors garden, where Peter always steals vegetables from.

The stories are broken up by Beatrix Potter and Jemima Puddle-Duck looking for Peter, and Potter explaining things about the characters. The changing of scenery/items is done so it looks like it is part of the story, with each little prop appearing as the narrator describes it. A screen at the back of the stage helps to set the scene as well, especially when Jemima Puddle-Duck is flying around both in her own story and when helping look for Peter.

All in all it is a wonderful production which is fun for all the family and at an hour long is just the right length of time to keep small children entertained without them being bored.

York Theatre Royal – Friday 12th April 2019

Reviewed by Sara Garner

3***

High tide and Loose Tongue’s productions of The Trick was written by Eve Leigh whose previous work includes Stone Face and Silent Planet.

The idea behind the play is about loss and bereavement, and its affect on the elderly widow Mira (Lachelle Carl). After the death of her husband Jonah (David Verrey), Mira appears to be comforted by his ‘ghost’.

We are ‘treated’ to a magic show at the start of the production and, whilst interesting, these interludes come across as a bit tacky and the analogies patronising.

These sometimes strange interludes interrupt an otherwise effectively emotional story of Mira and her mental and physical decline after her husbands death.

What is not clear is whether the comforting apparition of Jonah is meant to be a ghost or just in Miras imagination. However both actors perform the roles well and the audience feel connected with them, until yet another frustrating interlude.

Yes of course death, dying and bereavement is still a taboo subject and theatre is an ideal medium to deal with it.

On the whole, the four actors are more than competent to deal with such an emotive subject, but the play fails to deliver and far too frequently goes off track and the play falter.

Above the Stag Theatre – until 28 April 2019

2**

Oh dear.

I REALLY wanted to love this musical and taking in the details of the exciting set full of screens as you enter the theatre, expectations were high.

But then the show began.

Barney Ashton-Bullock’s show, the third about Torsten, a gender fluid, polysexual semi-immortal is a hot mess. It may have helped if I’d seen the first two, but I doubt it.

Set in post-apocalyptic Britain, after an unfortunate blunder mistaking the nuclear button for the king’s g-spot, narcissistic diva Lady Domina Bizarre (Matthew Baldwin – the best thing about this show) presents the only TV show left from the ruins of the famous Queereteria nightclub. Lady D has Torsten (Andy Bell) captive in a Bell jar (yes, that’s the level of humour on display) sedated and performing on cue for the audience at home. Eventually Torsten is freed by his lover Daniel (Ashton-Bullock) and Lady D’s gentle sidekick Rupert (the fabulous Peter Straker) but that really doesn’t result in any huge changes, apart from Bell singing standing up rather than on a stool. Young Torsten and Daniel’s relationship is presented through dance by Tom Mann and William Spencer (who also choreographs), but the two are never quite in step with each other – something I desperately hope is an intended indicator of their doomed relationship, but maybe not.

Ashton-Bullock probably has some message about censorship and fame in modern media in mind, but this is completely lost amongst lots of self-indulgent and trite psychobabble and toilet humour. The whole thing feels like an under-rehearsed student skit that outstays its welcome. There are about 10 minutes of good material in this almost two-hour long show, and these passages of relief all involve Matthew Baldwin. There is a fantastically filthy cookery section which feels like Pam Ayres in A Chocolate Orange, and an inspired Dragons’ Den sketch, but the rest is all cock, arse, piss and poo jokes that become monotonous. Ashton-Bullock looks extremely uncomfortable onstage, and Andy Bell is basically just there to sing in between sketches. The musical numbers are a welcome relief, with Christopher Frost’s music pleasant enough, but the lyrics (from Ashton-Bullock) are woeful, and they could all lose a verse and a couple of choruses. Maybe they just wanted Andy Bell to sing for as long as possible.

A disappointing and misguided mess. Put Torsten back in his jar and listen to some Erasure instead.

Jack Studio Theatre – until 27 May 2019

Reviewed by Claire Roderick

4****

The UK premiere of Michael John LaChiusa’s musical about Annie Edson Taylor, the first person to ride over Niagara Falls in a barrel and survive, is a real treat. Pint of Wine’s production is a thing of sepia tinted beauty, from Bethany Gupwell’s evocative lighting to Tara Usher’s curio-filled set.

It’s 1901, and after years moving around the USA, often just ahead of her creditors, widow Annie decides to go for broke in her quest for fame and fortune in an era of daredevil stunts. La Chiusa’s Annie (Trudi Camilleri) has a selfish but charming restless independence and confidence on the surface, but her insecurities haunt her in the shape of the fearsome tiger she saw in her childhood and her dread of it forever stalking her. The first act is all about Annie’s preparation for her stunt, ending with the deed itself, while the second focusses on the disappointing aftermath that sees Annie die a pauper. With manager Frank Russell (Will Arundell) stealing her barrel, her unwillingness to bare her soul to her audiences, and a series of new managers unable to keep her in the fickle public eye as priorities and attitudes change in the leadup to World War 1, Annie is left selling postcards of her feat to tourists at Niagara Falls.

Director Dom O’Hanlon has the band on stage in period costume, as if they were part of the eclectic collection of objects on shelves, and musical director Jordan Li-Smith ensures that the soaring score is fully realised. There are no standout songs, as often happens with LaChiusa’s musicals, instead every number compliments and adds to the atmospheric and stirring experience. There is plenty of humour throughout, with Will Arundell and Emily Juler having a ball in Million Dolla’Momma as Russel tours with a young, drunk imposter posing as Annie. The cast’s movement and use of simple props is beautifully judged, and the vocal talent on display is phenomenal. As Annie, Camilleri is a powerhouse, and her softer, more maternal interactions with a young soldier going to war and the man who shot President McKinley (after a timely pep talk from the unwitting Annie) are a delight.

Yes, the narrative does lose its way a little, but the final emotional pay off when Annie shares how it felt inside the barrel as she dies makes any shortcomings forgivable. This emotional and uplifting gem of a musical is a must-see production.

Floral Pavilion Wirral – until 13th April 2019. 

Reviewed by Sarah Cockerill

4****

Tony award winning musical, Avenue Q, delighted the audience at Wirral’s Floral Pavilion Theatre last night.

It’s a puppet show for grown ups, a friend once told me and boy was it! With catchy melodies that you can help but tap your feet to, I had to stop myself from singing along to some of the controversial lyrics, written by Robert Lopez and Jeff Marx.

Although I wasn’t a Sesame Street fan as a kid, the references to the classic show were apparent in this musical parody, and each time made the audience laugh out loud, myself included.

Exploring themes such as racism, tolerance and the meaning of life, there were just enough thought provoking moments that meant the show wasn’t completely farcical.

The cast were outstanding, especially the two lead actors – Cecily Redman who played Kate Monster, the girl next door with big dreams, had an outstanding vocal range. Then there was Lawrence Smith who played both Princeton, the naive newcomer to Avenue Q, and Rod, the closet homosexual. It honestly took me until the end of the first half to realise he was voicing both characters. 

The whole audience were on their feet by the end, but I suspect this show isn’t for everyone. I would suggest to anyone considering seeing this show to do a quick online search of the song titles and if you’re intrigued, then definitely get yourself tickets. 

Avenue Q is at Wirral’s Floral Pavilion until Saturday 13th April before continuing it’s UK tour.

The Back Room at The Star Inn until 13th April 2019

Reviewed by Heather Chalkley

4****

Writer Suzanna Walters takes a gritty subject and provides a unique perspective. She cleverly uses a fourth person as the head voice of anorexia that the players can all hear.

Walters plays Anorexic Voice herself, with a malevolent, dominating presence. The malicious intent was palpable and oozed from the stage. She has an iron grip on the mental and emotional well-being of the characters.

The battle each character has to fight the Anorexic Voice and regain control of their lives, is very clear in this well written piece. Stephanie Lodge (Kate) is sincere in her delivery, particularly as the recovered victim and counsellor. Claire Howes (Libby) presented an innocence that resonates in ourselves either as young people, in our children or grandchildren. Not everyone thinks of young men having Anorexia, giving Cameron McCormack (Jonathan) an extra responsibility to give a different perspective to this mental illness. A challenge which he rises to admirably.

Director Sally McCormack allows the dialogue with Anorexic Voice (Walters) to be clearly heard, strategically placing Her in each scene to reflect the gradually reducing dominance she holds over her victims.

This piece gets the message across loud and clear that Anorexia is a mental illness that if untreated can potentially kill. There are still many misunderstandings about Anorexia, some shown here through the family dinner table and school playground scenes. Walters has made sure that the love and support offered by friends and family is portrayed as vital in the victims fight for recovery. Most importantly that each character had to want to recover, to find something to live for. 

Education through drama is a powerful tool that Walters and McCormack have used skilfully here.

Part of the Guildford Fringe Week

A NEW PARODY MUSICAL ABOUT FRIENDS

INSPIRED BY THE ICONIC TV SHOW FRIENDS

MARKING THE SHOW’S 25^TH ANNIVERSARY

WILL TOUR NATIONALLY FROM 15 JULY 2019

WITH A FULL RUN AT THE EDINBURGH FESTIVAL FRINGE

FROM 1 – 25 AUGUST AS PART OF THE ASSEMBLY FESTIVAL PROGRAMME AT THE ASSEMBLY ROOMS

The UK tour of the hilarious parody musical Friendsical written by Miranda Larson, opens at the Everyman Theatre in Cheltenham on 15 July 2019 followed by a nationwide tour visiting: Darlington, Derry, Newcastle, Kingston, Malvern, Blackpool, Chelmsford, Southampton and Croydon. Friendsicalwill have a full run at the Edinburgh Festival from 1 – 25 August as part of the Assembly Festival programme in the Music Hall of The Assembly Rooms.

When Ross’ wife leaves him for another woman, he fears he will never find love again. But then Rachel runs back into his life… will he end up with his one true love?

Featuring original songs such as ‘(He’s her) Lobster!’, ‘Richard’s Moustache’ and ‘You’re Over Me? When Were You Under Me?’, the gang take on naked Thursdays, a power cut, and a dinosaur convention.

What could possibly go wrong?

This is a loving parody not to be confused with the Warner Bros Entertainment Inc. series Friends.

Miranda Larson is a highly experienced writer-director for TV and theatre. A huge fan of the TV Show,Friends, Miranda was inspired to write her own friends-based comedy, The Box Upstairs and it was her first commissioned play in 2004.

Her most recent credits include the adaptation of Tom Fletcher’s Christmasaurus for the Hammersmith Apollo, and the writing and directing of Peter Harris and Deborah Allwright’s The Night Pirates, which opened at the Rose Theatre Kingston and toured the UK. In addition are Cartoon Network Live and Trolls Live currently touring overseas. Other live show credits include the comediesSpongeBob Live & The Amazing World Of Gumball.

TV credits include Life Bites and Bienvenue Bienvenida Welcome for the Disney Channel. Hubble, Bubble & Squeak for Nickelodeon, Chip and Potato for Darrall Mcqueen & Netflix.

Miranda is currently developing Sleepy Hollow for the stage.

Friendsicalis produced by Birdbrooke Entertainment ltd. Full casting and creatives will be announced in due course.

LISTINGS

FRIENDSICAL

WRITTEN BY MIRANDA LARSON

15 JULY – 2 NOVEMBER 2019

UK TOUR

Twitter/Instagram: @Friendsical

TOUR DATES

CHELTENHAM Everyman Theatre                          Everymantheatre.org.uk
15 – 20 July 2019                                                       01242 572 573

DARLINGTON Hippodrome                                      Darlingtonhippodrome.co.uk

22 – 27 July 2019                                                       01325 405405

EDINBURGH Assembly Rooms                                assemblyfestival.com

01 – 25 August 2019                                                  01316233030

DERRY Millennium Forum                                       Millenniumforum.co.uk
26 – 31 August 2019                                                  028 7126 4455

NEWCASTLE Northern Stage                                  Northernstage.co.uk

2 – 7 September 2019                                              0191 230 5151

KINGSTON Rose Theatre                                         Rosetheatrekingston.org

9 – 14 September 2019        020 8174 0090

MALVERN Festival Theatre                                      Malvern-theatres.co.uk

16 – 21 September 2019      01684 892277

BLACKPOOL Grand Theatre                                     Blackpoolgrand.co.uk

23 – 28 September 201901253 290 190

CHELMSFORD Civic Theatre                                      Chelmsford.gov.uk/theatres
14 – 19 October 2019                                                 01245 606 505

SOUTHAMPTON Nuffield Theatre                           Nstheatres.co.uk

21 – 26 October 2019                                                 0238067 1771

CROYDON Ashcroft Theatre                                     Fairfield.co.uk
28 October – 2 November 2019                               0203 292 0001

FESTIVAL THEATRE, EDINBURGH – UNTIL SATURDAY 13TH APRIL 2019

REVIEWED BY SIOBHAN WILSON

5*****

I am now asking myself why I have never been to the Ballet before. This phenomenal show had the whole audience enraptured from start to finish, and I even found myself leaning forward in order to get closer to the action.

The thought-provoking display of a historical monarch legend was not only educational but entertaining.

Following the death of Queen Victoria, Princess Beatrice reads the Queen’s diaries. Scenes from the diaries are impeccably danced out by an extremely talented cast. It is as though Princess Beatrice is trying to rewrite her mother’s life with her tearing out pages from the diaries and writing in her own version. The incredible yet simple set design further displays this starting with library of red books becoming empty shelves and slowly refilling with the blue diaries of Princess Beatrice. The flashback dimension is regularly broken with older Beatrice mirroring and dancing with younger Beatrice.

Pippa Moore’s portrayal of an older Princess Beatrice is flawless, her expressionism through facial expression and dance is amazing and enrapturing. You completely emphasis with all the emotions that she is going through.

Miki Akuta as young Princess Beatrice echoes Pippa seamlessly, she is equally apt with the mirrored movements when dancing along side and with Pippa.

Abigail Prudames’ vast ability to portray a multitude of emotions is incredible. She portrays a whole life of highs and lows with such realism that you feel like you are going through the extreme events with her in real time.

The score is written to mirror the emotions and the orchestra played superb throughout. The thoughtful accents to mirror small actions such as Beatrice writing in her diary do not go unnoticed.

This is a strong show all round. Whether you are a seasoned ballet goer or a newbie like me this enrapturing display cannot be missed.

Leeds Playhouse – until 28April 2019

Reviewed by Sally Richmond

5*****

Around the World in Eighty Days, based on the famous novel by Jules Verne, is primarily set in Victorian England and is the story of Phileas Fogg, an eccentric toff, who takes a wager that he will be able to go around the world in eighty days. The spirit of adventure was bubbling high at the turn of the century and so with his valet Passepartout, Fogg sets off using all forms of transport available to him within the era. What ensues is a fast-moving frolic of a show filled with madcap mayhem. It is brought to us by four outstanding actors (Darren Kuppan, Joe Alessi, Robert Pickavance and Dan Parr) who give it their all with highly energetic and lively performances from start to finish.

Some outstanding moments were during the train sequence which is a really well crafted set piece, that contains vaudeville performances with extremely funny laugh-out-loud slapstick moments due to perfect comic timing. Another spectacular and theatrical scene is set on a boat in a storm and it really showcases the broad range of skills the actors possess; as we go from playful childlike humour to something more serious.

The set is simple yet effective and it allows us to really appreciate how the actors use their bodies within such a small space to produce carefully controlled movements, bringing the colourful and exciting journey of our protagonist, Fogg, to life. The gifted and talented actors switch between scenes and characters seamlessly and really bring the novel to life whilst making the audience roar with laughter.

I promise you, this show will not disappoint and is one that all the family will enjoy as it is bursting energy and creativity. There was a wide range of ages at the performance I was lucky enough to attend and looking around the room, at an audience of both young and old, all had expressions of sheer delight on their faces.

GHOST STORIES EXTENDS RUN

UNTIL SATURDAY 18 MAY 2019

AT THE LYRIC HAMMERSMITH

****

‘An exquisitely eerie evening’

The Times

****

‘This show is a bona fide crowdpleaser… It is, if anything, even more impressive this time around’

WhatsOnStage

Following critical acclaim and public demand the Lyric Hammersmith are delighted to announce thatAndy Nyman and Jeremy Dyson’s worldwide cult phenomenon, Ghost Stories, will extend its run at the theatre until Saturday 18 May 2019. Tickets for the extension are available to purchase now and start from £15.

WARNING. Please be advised that Ghost Stories contains moments of extreme shock and tension. The show is unsuitable for anyone under the age of 15. We strongly advise those of a nervous disposition to think very seriously before attending.

Are you brave enough to book?

Full cast includes Garry Cooper, Simon Lipkin, Preston Nyman and Richard Sutton.

CREATIVE TEAM

Written by                   Jeremy Dyson and Andy Nyman

Directed by                  Jeremy Dyson, Andy Nyman and Sean Holmes

Associate Director       Joe Murphy

Designed by                Jon Bausor

Lighting by                   James Farncombe

Sound by                     Nick Manning

Special Effects by       Scott Penrose