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Hull New Theatre – until 25 January 2020

Reviewed by Catherine McWilliams

4****

A solitary grand piano stands on the stage at the start of Beautiful, the orchestra plays and then Carole King (Daisy Wood-Davis) is on stage singing “So Far Away”. This is Carnegie Hall in 1971 and Carole King’s first ever concert. She starts to reminisce and we go back to the beginning in Brooklyn, to see how it all started.

And what a story it is, we first meet a 16 year old Carole persuading her mother to let her go up to Broadway to try and sell her song. She is taken on by Donnie Krishner (Oliver Boot) at 1650 Broadway and the music comes thick and fast from her first setting foot in the building. There is an incredible “1650 Broadway Medley” sung by the ensemble as she enters the building, full of snippets of hits and giving an idea of the life and excitement of the building.

Add into the mix her relationship with her husband and writing partner Gerry Goffin (Adam Gillian) and the friendship and rivalry with the songwriters Cynthia Weil (Laura Baldwin) and Barry Mann (Cameron Sharp) and you have a fabulous story, beautifully told.

The music is wonderful, whether performed by the songwriters as they pitch to Donnie or the ensemble as they become The Drifters and The Sherelles “performing” on tv. The hits and number 1’s just keep coming, 26 songs in all, and I guarantee you will know them all. The orchestra (musical director Andrew Corcoran) provided wonderful backing music throughout the show.

Daisy Wood-Davis is undoubtedly the star of this show, she is a triumph and thoroughly deserving of the standing ovation that the audience saved for her coming on stage to take her bow. Whether as the 16 year old Carole pitching to Donnie and interrupting the lyrics to explain what the backing music should be or as the older Carole she was totally convincing. Her initial rendition of “Will You Still Love Me Tomorrow” as she first read the lyrics gave me goose bumps, and “You’ve Got A Friend” sung to (and with) Cynthia, Barry and Donnie was a real tear jerker. The relationship with Adam Gillian as Gerry was convincing, with the many women in the audience willing her to ditch him!

Laura Baldwin as Cynthia Weil and Cameron Sharp as Barry Mann made a great partnership, both have wonderful voices and bounced off one another with ease. A highlight of the show for me was Cameron Sharp’s performance of “We Gotta Get Out of This place”, it was just fantastic.

The costumes were spot on, so true to the years as the story moved on. I have to say that Little Eva’s dress was a real treat. The sets appeared simple but were very clever in suggesting where the action was set. I am not sure whether there was a sound problem last night, especially in the first half as I struggled to catch some of the beginning of songs and the speech.

The incident has to be mentioned… Carole had just finished pitching a song to Donnie when a member of the theatre’s staff quietly and calmly appeared on stage and gently ushered the cast off. The audience waited and then a disembodied voice was clearly heard from the wings “just push the button” and the safety curtain came down. An announcement was made that there was a technical issue, which to the delight of the audience was very quickly solved. The curtain came up and the cast, with consummate professionalism, were frozen in position waiting to restart. And the show then zipped back into action.

At the end of the show my friend said “I’m going to go home and play her music” and I suspect that there are an awful lot of last night’s audience playing Carole King today. This is a wonderful night out at the theatre, full of fabulous music that will make you go out singing and definitely one to make you feel good.

The Great Experiment
London Tour: Thursday 6th February – Sunday 23rd February 2020

Exposing the little-known history of the Indian migrant labourers indentured to work on plantations around the world following the Abolition of Slavery, the award-winning Border Crossings brings The Great Experiment to audiences across London.

This new work recounts the moment in history when more than two million Indians were indentured to replace slave labour in Mauritius, Malaysia, the Caribbean and mainland Africa as part of The Great Experiment. Carefully devised by performers from various backgrounds in a process led by those of Mauritian heritage, The Great Experiment, directed by Michael Walling, tells two parallel stories – that of the labourers and that of the actors themselves grappling with their own relationships to this difficult history and its enduring effects that are still felt today.

As the conversation surrounding migration becomes increasingly vehement and divisive, The Great Experiment galvanises an urgent intercultural dialogue that both illuminates our hidden history and interrogates who has the right and the responsibility to retell it. Having worked with expert historians and the communities descended from the indentured workers, the production also makes use of multimedia and archive footage that the audience are encouraged to explore and interact with before each performance. Generously supported by Arts Council England, Heritage Fund, London Community Foundation and Cockayne Foundation, it will be staged in both theatres and museums across London alongside an exciting programme of workshops, talks and museum collection days.

Director Michael Walling comments, Most of Border Crossings’ previous work has been very contemporary – but the current moment seems to call for a new look at our histories, and particularly the untold histories of the British Empire. The story of the Indentured migrations feels incredibly resonant at a time when people are travelling the world in search of a better life – not just because these Indian labourers also migrated for work, but also because their work laid the foundations for the very inequalities which make Europe and America so rich, and the global South so poor today. Our confrontation with this history has brought into the open some incredibly powerful questions about who we are in the UK today: how our multicultural space came into being and why it contains so many unresolved divisions. The past is not past

Deviser-Performer Nisha Dassyne adds, Working on The Great Experiment, I’ve had to visit the ghosts and memories in my family. They have become more concrete, more human, more accessible. The connection to my ancestors isn’t just something to talk about anymore – it’s a real connection.

LISTINGS RELEASE: DISNEY’S THE LION KING

IMPORTANT LISTINGS INFORMATION

Disney’s THE LION KING at the Lyceum Theatre is now booking until 5 July 2020 for individuals and 12 February 2021 for Groups.

PERFORMANCE TIMES: FEBRUARY HALF-TERM SCHEDULE

As standard, THE LION KING plays Tuesday to Saturday at 19:30pm with matinee performances on Wednesday, Saturday and Sunday at 14:30pm.  There is no performance on a Monday evening. Over the February half-term schedule (only), a new matinee performance has been added taking place on Thursday 20 February 2020 at 14:30pm.

February half-term performances will take place on 18, 19, 20, 21, and 22 February at 19:30 and 19, 20, 22 and 23 February at 14:30pm.

After 22 landmark years on Broadway, THE LION KING continues ascendant as one of the most popular stage musicals in the world.  Since its premiere on November 13, 1997, 25 global productions have been seen by more than 100 million people.  Produced by Disney Theatrical Productions under the direction of Thomas Schumacher, THE LION KING has made theatrical history with three productions worldwide running 15 or more years and another three productions running 20 or more years. The show has been performed in nine different languages (Dutch, English, French, German, Japanese, Korean, Mandarin, Portuguese and Spanish). Productions of The Lion King can be seen on Broadway; London’s West End; Hamburg; Tokyo; Madrid; on tour across the UK & Ireland, Japan and North America, with a separate production touring internationally, for a total of nine productions running concurrently across the globe.  Having played over 100 cities in 20 countries on every continent except Antarctica, THE LION KING’s worldwide gross exceeds that of any film, Broadway show or other entertainment title in box office history.

THE LION KING won six 1998 Tony Awards®: Best Musical, Best Scenic Design (Richard Hudson), Best Costume Design (Julie Taymor), Best Lighting Design (Donald Holder), Best Choreographer (Garth Fagan) and Best Direction of a Musical. The Lion King has also earned more than 70 major arts awards including the 1998 NY Drama Critics Circle Award for Best Musical, the 1999 Grammy® for Best Musical Show Album, the 1999 Evening Standard Award for Theatrical Event of the Year and the 1999 Laurence Olivier Awards for Best Choreography and Best Costume Design. The show’s director, costume designer and mask co-designer, Julie Taymor continues to play an integral part in the show’s ongoing success. The first woman to win a Tony Award® for Direction of a Musical, Taymor has in recent years supervised new productions of the show around the world.

LISTINGS INFORMATION

Disney’s THE LION KING
Lyceum Theatre
21 Wellington Street, London WC2E 7RQ

Box Office number: 0844 871 3000
www.thelionking.co.uk

Booking until 5 July 2020 for individuals and 12 February 2021 for Groups.

PERFORMANCE TIMES: FEBRUARY HALF-TERM SCHEDULE

As standard, THE LION KING plays Tuesday to Saturday at 19:30pm with matinee performances on Wednesday, Saturday and Sunday at 14:30pm.  There is no performance on a Monday evening. Over the February half-term schedule (only), a new matinee performance has been added taking place on Thursday 20 February 2020 at 14:30pm.

February half-term performances will take place on:
Tuesday 18 February 2020 at 19:30pm
Wednesday 19 February 2020 at 14:30pm
Wednesday 19 February 2020 at 19:30pm
Thursday 20 February 2020 at 14:30pm
Thursday 20 February 2020 at 19:30pm
Friday 21 February 2020 at 19:30pm
Saturday 22 February 2020 at 14:30pm
Saturday 22 February 2020 at 19:30pm
Sunday 23 February 2020 14:30pm

When We Died
VAULT Festival, The Vaults, Leake Street, London, SE1 7NN
Tuesday 10th – Sunday 15th March 2020

He’s dead and it’s her job as an embalmer to prepare the body for his family’s final goodbye. She often imagines what each person’s life was like; today she doesn’t have to imagine. She knows him. When We Died is a striking new play about one woman’s choice to confront her trauma – faced with the body of the man who raped her, she tells her story on her terms.

Written and performed by Alexandra Donnachie (Suffragettes with Lucy Worsley, BBC; 3 Years, 1 Week and a Lemon Drizzle, Edinburgh Fringe), the play follows one woman as she embalms a body and decides whether to tell the wife her truth about her husband. More about recovery and life than trauma and death, it is nonetheless sensitive in its depictions and discussions about issues that are not easy subjects to discuss and was longlisted for the Bruntwood Prize.

Carbon Theatre are working closely with Serenity, a sexual assault referral centre, who are offering advice and mentorship on the play’s content right up until the play opens. A Theatrical Trauma Specialist and a trained embalmer have also been onboard throughout development to provide experience and insight into the more visceral and biological processes of the body in death and in the aftermath of a sexual assault.

Donnachie comments, This play has been in my brain – and in various different Word documents across two laptops – for nearly four years. Throughout those years, the societal backdrop that When We Died is set against has changed, mostly for the better, in ways I could never have imagined when I wrote the first draft in 2016. I am over the moon to finally get to stage the play When We Died has become at one of the most prestigious festivals in the theatre world’s calendar and as part of a team who have helped me grow the piece.

StoryHouse Live, Chester – until Saturday 26 January 2020

Reviewed by Julie Noller

5*****

Following on from the success of Cornley Polytechnics production of The Play That Goes Wrong and their television production, Mischief Theatres latest show has steamrollered into Chester for it’s latest stop on it’s nationwide tour.

We saw some last minute cast changes that saw leads swap and understudies take leads, this in no way detracted from what is a hugely polished and what is an extreme gigglefest. As always Mischief Theatre bring to the stage a play that’s so bad it’s fantastic, amazing value for money; it’s a farce within a farce, every cliché you could imagine hits you in the face – you could almost tick off a spreadsheet of must include moments.

Peter Pan has just finished a run as StoryHouse Live’s Christmas production, how funny that Peter Pan Goes Wrong should follow it. Tom Babbage as Chris is a man having a meltdown, sinking further and further as he becrys this is not a pantomime, but we the audience encouraged by other cast members of course know differently, the more he shouted at us the louder we became. The audience were howling not just laughing there were people laughing out of control, loud squeals of delight which made us laugh all the more, it is after all so infectious.

As always you should arrive at your seat in plenty of time for if you wait until the last minute you may just miss the pre-show, as expected there is the case of the missing hammer. We the audience were all drafted in to help hook up an electric supply by passing the extension cable overhead, then there was poor Michael the audience member we were encouraged to sing Happy Birthday to, I’m still confuddled as to whether it was his birthday or not. All this pre-show interaction, works as a warm up, the audience know it’s ok to shout out once the main shows begins.

Poor Trevor (Ethan Moorhouse) is the stagehand who is drafted in to give the pre-show safety brief, swigging a bottle of beer we are informed of a plastic cup only policy, taking a selfie whilst on the phone … turn off mobiles and definitely no photography. The action, the stories, the absolute disasters come thick and fast. The cast are fantastic, incredibly polished and I noticed a format; wooden actor, stage fright, female lead loving the limelight, stage struck love forlornly want to be lead, lead actor a little too much in love with himself, older actor lovey with lots of recording problems intermixing all ticked off successfully.

Well done to Fred Gray who plays Max (the lovelorn, star struck role). Max plays Michael Darling, Mermaid and everyone’s favourite the Crocodile. Fred along with Christian James as Jonathan/Peter Pan stepped into their parts as a last minute change. So what should you expect? Action, noise, set malfunctions, stage props falling apart, paramedics, hilarious stories told with a straight face. It’s an A-Z of British humour. I along with many others can not wait for when Mischief Theatre returns to Chester in September with their latest play Grown Ups as announced by Tom Babbage (Chris).

Take yourself along to StoryHouse and chase those winter blues away. Laughter in this case really is the best medicine. I left wanting more, but fully in awe of a performance that had me crying and quite possibly the odd snort of laughter, absolutely brilliant.

JANE AUSTEN’S HOUSE ANNOUNCES LAURA WADE AND SAMUEL WEST AS AMBASSADORS FOR 2020

Museum displays and events to celebrate nature and the outdoors

Jane Austen’s House in Chawton, Hampshire, is delighted to announce that Laura Wade, Olivier Award-winning playwright and screenwriter and her partner, actor and theatre director Samuel West will be its joint Ambassadors for 2020.

Wade’s play The Watsons, a witty adaptation of Jane Austen’s unfinished story of the same name, was first produced at Chichester’s Minerva Theatre in 2018, directed by West. Following a successful transfer to the Menier Chocolate Factory in 2019, the play will make its West End debut at The Harold Pinter Theatre in May this year.

Laura is looking forward to her role as Ambassador alongside The Watsons director, Samuel West. Laura said: “We had a great morning at Jane Austen’s House with our cast early on in rehearsals and the visit really informed their work on the show.  We already feel like we have a connection to the Museum and are very proud to be associated with such an important and resonant place – it means a great deal to us.”

Collections and Interpretations Manager at Jane Austen’s House, Sophie Reynolds, said: “We are delighted to have Laura and Sam as Ambassadors for 2020 and look forward to working with them throughout the year. Jane Austen is known for her love of theatre, and Laura and Sam’s love of Austen is tangible in their beautiful, clever production. It feels like the perfect match.”

2020 will also see Jane Austen’s House and garden reflecting Jane – and her characters’ – love of nature and the outdoors. A first edition of Pride and Prejudice will take pride of place in the Reading Room, celebrating Lizzie Bennett’s famous walk through muddy fields, alongside a pair of Regency ladies’ walking boots and a pair of pattens, which nineteenth century ladies would wear to keep their feet dry.

The Historic Bakehouse will feature a new chalkboard for children of all ages to record the wildlife they spot in the garden, encouraging visitors to keep an eye out for everything from birds, bees and insects to the more elusive hedgehogs and bats.

And the vibrant Chawton Leaf wallpaper installed in the Dining Room in September 2019 continues to be a favourite – bringing the outside indoors.

The House will also be offering a series of nature-themed events throughout the year:

·       'To look upon verdure'. Gardener, historian and author Carol Chernega will present a talk exploring the Garden at Jane Austen's House, what it was like when Jane lived here, how it developed when the Museum opened in 1949 and how it has expanded in the past twenty years.  15 February 2020.

·       Spring Flowers Workshop. Inspired by the beautiful garden at Jane Austen’s House, this three-hour long workshop brings professional florists from Winchester’s Blooming Workshop to the House to guide participants in arranging a take-home bouquet of their own. 3 May 2020.

·       A series of guided walks, including two shorter family-friendly walks over the Easter and May Bank holidays aimed at under 11s and their families.

More details and events can be found on the Museum’s website: https://www.jane-austens-house-museum.org.uk/.

Sophie Reynolds continued: “Nature is not always the first thing that comes to mind when people think of Jane Austen, but we know from her letters that Jane was a keen walker and enjoyed the countryside. It is this love for the outdoors that she instilled in her heroines that we are celebrating through our events programme, items in our collection and by encouraging visitors to fully enjoy the House’s beautiful cottage garden.”

Jane Austen’s House re-opens to the public on 1 February 2020.

GWEN LIVING LIFE AT FULL THROTTLE

Living life at full-throttle in her eighties and starring in a spine-tingling new play, BAFTA nominated actress Gwen Taylor talks about thrillers, theatre and her prerequisites: a comfy bed with an en-suite.

Gwen Taylor is a bit marvellous. One of our best-loved actresses, not only does her biog span several pages and include TV work on favourite shows such as Coronation Street, Heartbeat, A Bit of A Do and Duty Free, but she also has film appearances including The Lady in the Van and Monty Python’s Life of Brian to her credit. Oh, and let’s not forget her numerous roles on stage and the fact that she has won several awards for her work.

But almost as remarkable as her career itself is the fact that at the age of 80 she is still living life at a lively pace, embracing a weekly touring schedule that would daunt younger actors.

“I am thriving on it. I love to work and I love a challenge,” she says, a beaming smile confirming her genuine passion for schlepping up and down the country to perform.

“Although,” she amends, “my husband comes with me and we do stay in hotels these days. I did ‘digs’ for years, but now I like an en-suite and a comfy bed.”

The challenge in question is a new play by Ali Miles, The Croft. Described by director Philip Franks as ‘a thriller with romance and secrets at its heart,’ The Croft is based on a true story. Set in the remote Scottish Highlands village of Coillie Ghille, the lives of three women from different eras are intertwined by the croft’s dark history. In the 1880’s, Enid, the last person left in the village takes in the Laird’s pregnant daughter, Eilene. In 2005, Ruth occupies the croft, which she and her husband Tom bought as a holiday home and where Ruth has her affair with local man. In the present day, Ruth’s daughter Laura returns with her friend Suzanne after her mother’s death and together they discover the terrifying truth that lurks within the croft.

“It is so exciting,” Gwen enthuses. “I just think of this as real trail blazing – my character blazes a trail for the two ladies that appear later in the play. Her courage is amazing. She is resilient and a survivor; a really strong female character. That really appealed to me when I first read the play.”

Interestingly, she read The Croft when she was performing in another thriller; the well-loved spine-tingler The Lady Vanishes.

“So my head was in a bit of a mind split – two brilliant thrillers playing two strong women!

“People love a good thriller, be it a book, a film or a play, but I think a stage production is different because of the involvement an audience feels and those moments when people jump as one. It is a mix of anticipation, live performance and fantastic storytelling – and this is a great story. You’ll be trying to guess what might happen but the action may not go the way you think it will,” she teases.

“The other thing about a thriller is that you have to work out if you believe in all the characters or if you think they are telling lies. People like the intrigue.”

Having worked for the production company previously, Gwen has plenty of praise for The Original Theatre Company.

“I have worked for Original a couple of times and they have their hearts and minds in the right place. They are really building a reputation for great quality productions and it is lovely to have been in at the start of that.”

As for the tour itself, and even though she has performed at almost every theatre in the country, Gwen is looking forward to being on the road again.

“The tour goes everywhere – what am I going to do in Perth when I have to speak with a Scottish accent?” she says, throwing her hands up in mock horror.

Somewhere Gwen is especially looking forward to returning to is Darlington.

“I was there on the last tour I did and the theatre is lovely. It is such an interesting town and it is a very friendly place. I am looking forward to going back and exploring a bit more.”

A play that asks if the present heals the past, Gwen declines to provide any specific spoilers but describes the outcome as ‘very satisfying’.

“My character’s trailblazing pays off against all the odds, but The Croft is the link to it all.

“I have a great belief in bricks and mortar inhaling and keeping emotional happenings in the stone. I think that explains sometimes the feeling you get when you walk in somewhere. Buildings big and small take in trauma and love. When we first walked into our house in London I said to my husband that I felt that the house had been some sort of harbour for people. Later we found some letters that explained that the owners had taken in Jewish people during the war. Harbour was the word I used and that is what it was; a harbour.”

A thrilling story and first class performances led by one of our most accomplished actresses? I’d say that’s a combination that has ‘must see’ written all over it.

The Croft runs at Darlington Hippodrome from Tuesday 11 to Saturday 15 February, 2020.

For more information or to book call 01325 405405 or visit www.darlingtonhippodrome.co.uk

BY THE WATERS OF LIVERPOOL

EMBARKING ON A UK PREMIERE TOUR FROM TUESDAY 3RD MARCH

Syndicated interview with Sian Reeves on playing Helen Forrester’s Mother in Spring UK Tour 2020 of By The Waters Of Liverpool –

and why she feels at home on the cobbles of Coronation Street

A familiar and much-loved face on stage and screen, actress Sian Reeves is about to cause a stir on the cobbles of Coronation Street. But Sian is also about to take on a headline role in the brand-new stage production of Helen Forrester’s By The Waters Of Liverpool.

Sian will play the role of Helen’s Mother, Celia Forrester, a testing and challenging role portraying a strong woman affected by her life, and that of her family, being turned upside down.

By The Waters Of Liverpool Spring 2020 UK Tour opens on Tuesday 3 March at the New Brighton Floral Pavilion in Wirral – just a few miles from where acclaimed author Helen Forrester was born.

The 11-week national tour will visit 17 venues across the country and follows a hugely successful run at the Liverpool Empire Theatre in October 2018, when the new production was premiered to rave reviews.

After opening in New Brighton, the tour will then head to Stockport, Warrington, St Helens, Lancaster, Crewe, Southport, Rhyl, Swansea, Darlington, Malvern, Eastbourne, Isle Of Man, Hayes, Winchester, Liverpool, and Blackpool.

The touring cast also features Mark Moraghan, Parry Glasspool, Lucy Dixon, Eric Potts, Lynn Francis, Danny O’Brien, Roy Carruthers, and Chloe McDonald.

In celebration of Helen Forrester’s 100th Birthday, an iconic Blue Plaque will be unveiled at a special event in February at the late author’s family home in Hoylake – a place which featured heavily in Helen’s four volumes of best-selling autobiography, including Twopence To Cross The Mersey.

Sian will be joined by fellow cast member, Mark Moraghan who plays Helen’s Father, and Helen Forrester’s son Robert Bhatia to unveil the Blue Plaque.

Ahead of going into rehearsals for By The Waters Of Liverpool, Sian talks about what a challenging and important role she has to play portraying Helen’s Mother, Celia. She explains:

“I’m playing Helen’s Mother, Celia Forrester, who is a wonderfully complex person. From money, status and class before the great depression of the 1930s, to then losing everything and being dumped in a damp bug infested house with one cold water tap, and one toilet – with seven children to look after. She absolutely cannot shake herself out of the nightmare that is now her new life. She is stunned that her husband, who once held a senior position in the financial world, cannot find work and they have to grovel for hand-outs from the local parish.

“To escape the confines of their now smelly, claustrophobic house, she leaves the day-to-day running of the family to her 11-year-old daughter Helen, which manifests itself and show her as a very strict and uncaring woman. Helen actually said of her mother, ‘her bouts of temper bordered on insanity’ – it really shows just how exhausted and dreadfully depressed she is. It’s a great role to play.”

Sian also spoke about her delight in being asked to help unveil the Blue Plaque to celebrate Helen Forrester’s life and literary achievements. She added:

“I have read about five of Helen’s books and it’s a real treat to be re-reading and playing Celia. I also feel very honoured to have been asked to unveil Helen’s Blue Plaque with my lovely co-star Mark Moraghan, who I’ve worked with before. Helen was a magnificently clever woman, and it will be lovely to meet some of her family at this very special occasion.”

West Bromwich born Sian Reeves is an original cast member of the 1985 stage production of Les Misérables. She also later appeared in the 25th anniversary performance at London’s O2. Sian has already shared a stage with fellow By The Waters Of Liverpool cast member Mark Moraghan in celebrity TV singing contest, Just The Two Of Us – when Sian and opera singer Russell Watson won the competition.

Sian’s television credits also include Casualty, Cutting It, Emmerdale, Hope Springs, Holby City and, more recently Coronation Street. Theatre credits include West Side Story, Love Me Tender, The Merchant Of Venice, and The Little Match Girl.

Sian can currently be seen appearing in Coronation Street, where she is sending revelations and shock waves throughout Weatherfield.

Sian plays Charlie Wood, the wife Tim Metcalfe didn’t know he had. They married some years ago on a whim after meeting in Las Vegas – however Tim presumed it was a spoof wedding. Until now when he realises the drunken ceremony was actually legally binding. Fearful of being charged with bigamy, Tim tracks Charlie down and asks for a divorce. But things don’t quite go to plan when Charlie arrives in The Street. Sian adds:

“Charlie Wood is a sweet girl. When they meet up again, Tim doesn’t mention being married to Sally. He lavishes a lot of attention on her to get the divorce, and she thinks he’s in love with her. Humiliated when Sally confronts them – she runs off without signing the papers. But if Tim was hoping he’d seen the last of her, he was very much mistaken. Watch this space!”

By The Waters Of Liverpool is set in the 1930s after Helen’s father went bankrupt during the Depression. Her family were forced to leave behind the nannies, servants and comfortable middle-class life in the South West of England. The Forrester’s chose Liverpool to rebuild their shattered lives, but they were in for a terrible shock. Taken out of school to look after her young siblings, Helen is treated as an unpaid slave. So begins a bitter fight with her parents for the right to go out to work and make her own way in life. But by 1939 and with Britain on the verge of war, Helen now aged 20, has still never been kissed by a man. But things start looking up for her when she meets a tall strong seaman and falls in love.

The new touring production of By The Waters Of Liverpool is again produced by Pulse Records Limited in association with Bill Elms and is directed by Gareth Tudor Price.

This new production of By The Waters Of Liverpool also features sizeable chunks from Helen’s earlier book Liverpool Miss, together with flashbacks to Twopence To Cross The Mersey.

By The Waters Of Liverpool has sold more than a million books. Now this is your chance to see it come to life in this brand-new stage play adaptation.

Helen Forrester’s best-selling volumes of autobiography include Twopence To Cross The Mersey, Liverpool Miss, By The Waters Of Liverpool, and Lime Street At Two.

Adapted by Rob Fennah · Directed by Gareth Tudor Price

Produced by Pulse Records Limited in association with Bill Elms

Fully endorsed by the Helen Forrester Estate

Website: www.bythewatersofliverpool.com

Facebook: www.facebook.com/ByTheWatersThePlay

LISTING INFORMATION

HELEN FORRESTER’S

BY THE WATERS OF LIVERPOOL

FLORAL PAVILION

Tuesday 3 March – Sunday 8 March 2020

Marine Promenade, New Brighton, Wirral, CH45 2JS

Tickets from £22 plus booking fee

Website: www.floralpavilion.com

Box Office: 0151 666 0000

STOCKPORT PLAZA

Tuesday 10 March – Thursday 12 March 2020

Mersey Square, Stockport, SK1 1SP

Tickets from £22 plus booking fee

Website: www.stockportplaza.co.uk

Box Office: 0161 477 7779

WARRINGTON PARR HALL

Saturday 14 March – Sunday 15 March 2020

Palmyra Square,Warrington, WA1 1BL

Tickets from £22 plus booking fee

Website: https://parrhall.culturewarrington.org/whats-on

Box Office: 01925 442345

ST HELENS THEATRE ROYAL

Tuesday 17 March – Saturday 21 March 2020

Corporation Street, St Helens, WA10 1LQ

Tickets from £22 plus booking fee

Website: www.sthelenstheatreroyal.com

Box Office: 01744 756000

LANCASTER GRAND THEATRE

Monday 23 March – Tuesday 24 March 2020

St Leonardgate, Lancaster, LA1 1QW

Tickets from £22 plus booking fee

Website: www.lancastergrand.co.uk

Box Office: 01524 64695

CREWE LYCEUM

Wednesday 25 March – Thursday 26 March 2020

Heath Street, Crewe, CW1 2DA

Tickets from £22 plus booking fee

Website: www.crewelyceum.co.uk

Box Office: 01270 368242

SOUTHPORT THEATRE

Friday 27 March – Saturday 28 March 2020

The Promenade, Southport, PR9 0DZ

Tickets from £22 plus booking fee

Website: www.waterfrontsouthport.co.uk/events/whats-on

Box Office: 01704 500036

PAVILION THEATRE RHYL

Tuesday 31 March – Saturday 4 April 2020

East Parade, Rhyl, LL18 3AQ

Tickets from £22 plus booking fee

Website: www.rhylpavilion.co.uk

Box Office: 01745 330000

GRAND THEATRE SWANSEA

Monday 6 April – Tuesday 7 April 2020

Singleton Street, Swansea, SA1 3QJ

Tickets from £22 plus booking fee

Website: www.swansea.gov.uk/swanseagrandtheatre

Box Office: 01792 475715

DARLINGTON HIPPODROME

Thursday 9 April – Saturday 11 April 2020

Parkgate, Darlington, DL1 1RR

Tickets from £22 plus booking fee

Website: www.darlingtonhippodrome.co.uk

Box Office: 01325 405405

MALVERN THEATRES

Tuesday 14 April – Wednesday 15 April 2020

Grange Road, Malvern, WR14 3HB

Tickets from £22 plus booking fee

Website: www.malvern-theatres.co.uk

Box Office: 01684892277

DEVONSHIRE PARK THEATRE EASTBOURNE

Friday 17 April – Saturday 18 April 2020

Compton Street, Eastbourne, BN21 4BW

Tickets from £22 plus booking fee

Website: www.eastbournetheatres.co.uk

Box Office: 01323 412000

GAIETY THEATRE ISLE OF MAN

Thursday 23 April – Saturday 25 April 2020

Villa Marina, Douglas, Isle Of Man, IM1 2HJ

Tickets from £22 plus booking fee

Website: https://www.villagaiety.com/

Box Office: 01624 600555

BECK THEATRE HAYES

Monday 27 April – Tuesday 28 April 2020

Grange Road, Hayes, Middlesex, UB3 2UE

Tickets from £22 plus booking fee

Website: https://becktheatre.org.uk

Box Office: 020 85618371

THEATRE ROYAL WINCHESTER

Thursday 30 April – Saturday 2 May 2020

21-23 Jewry Street, Winchester, SO23 8SB

Tickets from £22 plus booking fee

Website: https://www.theatreroyalwinchester.co.uk/

Box Office: 01962 840440

EPSTEIN THEATRE LIVERPOOL

Monday 4 May – Saturday 9 May 2020

Hanover House, 85 Hanover Street, Liverpool, L1 3DZ

Tickets from £22 plus booking fee

Website: https://www.epsteinliverpool.co.uk/

Box Office: 0844 888 4411

GRAND THEATRE BLACKPOOL

Monday 11 May – Wednesday 13 May 2020

33 Church Street, Blackpool, FY1 1HT

Tickets from £22 plus booking fee

Website: https://www.blackpoolgrand.co.uk/

Box Office: 01253 290190

Richmond Theatre – until 25 January 2020

Reviewed by Riley Anderson

3.5***

Ayckbourn was an established playwright when he penned Ten Times Table in 1977 and it is the first time his writing works to tackle wider social issues and explore the polarising attitudes of the time. During this time, Ayckbourn was in the process of trying to find a new home for his theatre company, attending an endless amount of committee meetings laden with frustration and protocols, that undoubtedly planted the seed for the play in his mind.

The play focuses on a motley crew of committee members, brought together by the bumbling, inexperienced chairman Ray (Robert Daws), in order to fundraise and organise a re-enactment of a historical street protest that is suppressed by the local militia.

The first half of the play is dominated the the committee table and we are flies on the wall for a total of three meetings. In these meetings we meet the committee members, Ray’s wife Helen (Deborah Grant), an aggressive Thatcher-esque tory who dons an extravagant fur coat and attitude to match. Eric (Craig Gazey) who is a teacher at the local comprehensive and adamant, glaring marxist. Donald (Mark Curry) an experience committee member who is a stickler for getting things done by the book, at least so it appears. He is joined by his ageing mother Audrey (Elizabeth Power) who sits in the corner, penning the meetings and providing intermittent jollity and humour for the audience. There is also Laurence (Robert Duncan), the over-sentimental drunk, and Sophie (Gemma Oaten) who is wooed over to the left over the course of the first act by Eric.

The first half of the play is very static, and although the combination of characters around the committee table makes for some comic moments, it’s easy to see why this play faded away after its initial outing.

However in the second half, the play steps up to the farcical plate when Tim (Harry Gostelow) takes the reins as the fanatical solider in an attempt to put a stop to Eric’s Marxist nonsense.

Theres wooden guns used as bludgeons, pretend horses ridden by drunks, ill fitting trousers and a wonderful piano score played by Audrey.

If the first half feels a little slow, prepare yourself for the fast lane of the second.

BIRMINGHAM HIPPODROME PUTS YOUNG PEOPLE

CENTRE STAGE WITH TWO MUSICAL SHOWSTOPPERS

Birmingham Hippodrome is putting young people firmly centre stage with two upcoming showstopping musicals; Flower Cutters (17 & 18 April) performed by Birmingham Hippodrome’s Musicals Young Company and Groove on Down the Road (18 & 19 July) performed by ZooNation Young Company Birmingham.

Flower Cutters is a brand-new musical by Josh Bird & Rachel Bellman that is in development with Perfect Pitch, a not-for-profit theatre company dedicated to the creation, development and promotion of new British musicals, run by the producers of the Olivier Award nominated hit musical SIX. This April will mark a regional premiere as the auditioned group of 19 people aged 16 – 24 from Birmingham Hippodrome’s Musicals Young Company will be the first to perform this exciting new work in the Midlands. The young company was created by Birmingham Hippodrome in order to provide a platform for talented young performers from Birmingham and the West Midlands to work with industry professionals to hone their skills and to explore and develop new work.

In July, ZooNation Young Company Birmingham (ZYCBrum)present Groove on Down the Road, ZooNation: The Kate Prince Company’s re-imagining of the well-loved story, The Wizard of Oz. The first ZooNation young company outside London, ZYCBrum is made up of 18 of the most talented young Hip Hop dancers in the city aged between 11 and 20. Led by Artistic Director, Rhimes Lecointe, the company train weekly at their base of Birmingham Hippodrome in foundations and Hip-Hop styles, learn from guest teachers and present new work at the Hippodrome and beyond.

Birmingham Hippodrome’s Head of Learning and Participation, Zaylie-Dawn Wilson said; “As a charity committed to working with our local communities and developing young talent, we created Birmingham Hippodrome’s Musicals Young Company and ZYCBrum to give the young people of Birmingham and the West Midlands a world-class professional platform to nurture their talents.

“We are delighted to see our two young companies taking to the stage with exciting, fresh and engaging works which will connect with both audiences and performers.”

Written by Josh Bird & Rachel Bellman, Flower Cutters is a coming-of-age thriller about friendship, betrayal, and the lengths we will go just to feel like we belong. Desperate to fit in at University, Cass finds herself hanging out with Mia, Luke and Tom, an eccentric and exclusive group on the fringes of campus society. What Cass doesn’t know is that they are part of a university project, shrouded in mystery that has drawn them into the black market world of endangered flowers. When the group find themselves subjects of a criminal investigation, Cass clings onto their fragmenting friendship. But at what cost? 

Set in a fantastical urban world, Groove on Down the Road tells the story of Dorian and his adventures with Toto, Scarecrow, Tin Woman and Lion on their journey to Oz. The audience join Dorian, complete with red sneakers, and friends in this hip-hop dance production as they follow the yellow brick road in a quest to find happiness and family.

Flower Cutters plays on 17 & 18 April and Groove on Down the Road on 18 & 19 July in Birmingham Hippodrome’s Patrick Studio. Tickets are on sale to Birmingham Hippodrome Friends and Patrons scheme members now and available to the general public from 3pm today (21 Jan). To book visit birminghamhippodrome.com or call 0844 338 5000 (4.5p per minute plus your phone company’s access charge).