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Jack Studio Theatre – until 1 February 2020

Reviewed by Claire Roderick

3***

Yard Players return to the Jack Studio Theatre with this rather subdued production of Twelfth Night. The promise of a modern setting shown with an immediate technology gag is never followed up, but seems to just serve as a method to replace exposition and minor characters with a glimpse at a mobile phone.

The ridiculous cross-dressing and cross-gartered plot remains intact, with shipwrecked Viola dressing as a young man and calling herself Cesario to enter the court of Count Orsino and wooing the Lady Olivia for him. Olivia falls for Cesario, who is in love with Orsino, who in turn is developing feelings for his young servant. Meanwhile Olivia’s uncle, Toby Belch, and maid Maria plot revenge against pompous steward Malvolio for his attitude towards them, aided by Olivia’s foolish suitor Aguecheek. The arrival of Sebastian, Viola’s twin brother who she believes dead, creates more comic confusion and chaos before Shakespeare ties everything up neatly, pairing up lovers for a happy ending.

The simple set and unobtrusive music and sound keeps the focus on the actors, and director James Eley has cut characters to create a streamlined and fast-paced play. This means there is no Feste with his world-weary words of wisdom, and instead Maria voices his and Fabian’s lines as the plot against Malvolio and duel with Cesario unfold. For me, this made Maria seem much more vindictive and manipulative, rather than sharp-witted and mischievous- especially with Heloise Spring’s sneering and lairy interpretation. Pete Picton impresses as Toby Belch, with a bottle in every pocket, but the pair are made so unlikable in order to present the heavy handed acknowledgement that what they do to Malvolio is unimaginably cruel that lots of the comedy is lost. Luckily Duncan Dury as Aguecheek never fails to deliver big laughs when he is onstage with them. Daniel Chrisostomou is a very sympathetic Malvolio, and Olivia Price and Duncan Dury nail the self-entered points scoring relationship between Olivia and Orsino. Their courts wear different coloured lanyards, whether this is a comment on identity or their business rivalry is unclear. James Viller is great fun as Orsino’s frustrated servant Valentine, and wide-eyed and confused as the fickle Sebastian, while Jessica Kinsey is a quietly passionate but melancholic Viola.

The downbeat ending, with the twins gradually realising they are just trophies in the nobles’ shallow game is satisfying, but perhaps would have been more effective if the rest of the plot had been played with a lighter comic touch.

It’s worth a visit to the Jack to see this well-meaning and reflective adaptation of Twelfth Night, but this approach obscures the playful joy of Shakespeare’s comedy.

Leeds Grand Theatre – until 20 March 2020

Reviewed By Dawn Smallwood

4****

Kurt Weill’s Street Scene marks the new Opera North’s season at the Leeds Grand Theatre. Set to Elmer Rice’s book and Langston Hughes and Rice’s lyrics, Street Scene was premiered in 1947 in New York. This American opera, which has a musical twist, gives an insight to a Manhattan neighbourhood and its residents’ daily lives over 24 hours.

This new Opera North production is set to Weill’s musical composition where Act One, introduces the families and their unassuming livelihoods in a tenement. Anna Maurrant (Giselle Allen) is introduced along with her drink dependent husband, Frank (Robert Hayward), and their daughter, Rose, (Gillene Butterfield). Sam Kaplan (Alex Banfield) is also introduced and falls in love with Rose. The first act is fairly lengthy but it is appropriately paced to fit with the musical components and tempo for the retelling of the plot and the families concerned. The pace is picked up in Act Two when drama unfolds when it becomes apparent when Anna (Allen) and her lover, Steve Sankey (Paul Gibson), are discovered by husband Frank (Hayward). Tragedy follows which changes daughter Rose’s life forever as conclusively reflected in the final stages of the opera.

Conducted by James Holmes, Street Scene’s musical composition has varied genres which arrange and combine both opera and Broadway style singing and dancing – particularly the fast paced energetic Moon Face, Starry Eyed number performed by Mae Jones and Dick McGann (Michelle Andrews and Rodney Vubya) in the latter stage of the first act. The stories being shared indicate the harsh reality of living communally and the complexities which are explained musically and lyrically by the tenants. However they are able to reminisce about the past and notably hope for better lives in the future as picked up in Somewhere I Never Could Believe (Allen), Lonely House (Hayward) and What Good Would the Moon Be? (Butterfield)

Francis O’Connor’s dark staging, in support with Howard Hudson’s lighting, is exceptional with a multitude of suitcases snaking the four levels and the communal spaces, space is well used, of the tenement building. Directed by Matthew Eberhardt this is an enjoyable production with outstanding performances from the cast and its diverse and reflective music accommodating the reality of living in a tenement in the 1940s.

Street Scene resonates with the Weill’s migrant journey from Germany to America when he fled the Nazis in the 1930s and today is a similar picture of neighbourhoods here and worldwide with many migrants who have been in a similar predicament as the composer. The opera is considered one of America’s greatest operas and the story and music is written and captured ahead of its time as it continues to relate in the 21st Century.

Above the Stag Theatre – until 22 February 2020

Reviewed by Elizabeth J Smith

4****

Pete and Rafe have been together seven years, well seven and a half if we’re being pedantic. They have been together since university and although still very much in love, they want a taste of another bee’s honey. They don’t want a stranger or a friend they may bump into in  Asda, well Sainsbury’s. So they proposition an acquaintance, Micheal, to see if he would be up for a one night stand with each of them. One time only, never to be repeated. Micheal, who is in an open relationship with Andrew, is up for the challenge and terms are agreed. Michael knows of the agreement but as the play moves on is he really happy with the situation? Can a long term relationship withstand the infidelity? Can a broken vase ever be glued together and look the same?

Four Play is a funny, emotive play looking at relationships. Although focused on gay men, it covers struggles all relationships can suffer, regardless of orientation.

Keeran Blessis – Pete, Ashley Byam – Rafe and Declan Spaine -Micheal, all give convincing performances. Displaying each characters flaws with accurate artistry. From timid Rafe to bossy Pete and who gives a damn Michael. Marc Mackinnon – Andrew, has some great one-liners. There is real chemistry between the couples and you want a happy ending for them all.

A simple set that carries you from scene to scene and a great soundtrack make this a very easy play to watch. With laugh out loud one-liners and tender emotional moments it really is a super night out.  A must see for anyone who has been in a long-term relationship and wondered if the grass is greener on the other side!

Yeadon Town Hall – until Saturday 25 January 2020

Reviewed by Aimee Liddington

4****

Enter into a world of classic pantomime entertainment with Yeadon Charities Association’s presentation of this classic fairy tale. The production follows the timeless story we all know too well of the kind and gentle Cinderella, who is pushed around by her ugly stepsisters and evil step-mother. Then, with a little help from a fairy friend, she meets the love of her life in Prince Charming and justice prevails. This interpretation gives us everything we expect from a pantomime: obvious slapstick humour, audience participation and the more ‘subtle’ innuendos for the adults in the audience. With his script, Tom Whalley has introduced content which is sure to resonate with the audience in Yeadon and its surrounding areas.

The actors handle the audience extremely well. Small blunders are smoothed over with direct address to the audience. This only adds to the humour and eventually it is impossible to tell whether these ‘side notes’ are actually built into the act. Buttons, who is played by Ian Mottram, deserves a lot of the credit for the humour in this production. His one-liners and general mannerisms defy anyone not to crack a smile. Further mention should go to the dynamic duo of Richard Atkinson and Rick Hoddy who play the ugly stepsisters, Bella Needs-A-Fella and Stella Artois. These two are entertaining even when they are not part of the main action on the stage. You only need to keep your eye on them to catch their hilarious facial expressions and body language at trying to keep in character as women.

Any production would not be complete without the creative and production team. Alison Sandoval, Justine Moglia and Sharon Walley deserve a huge congratulations for their costume designs. The transformation scene where Cinderella’s dress evolves from rags to riches is incredibly impressive. The costume is faultless and it is obvious that a lot of work has gone into the design of it. Additionally, the lighting design by Tom Hughes certainly highlights the fairy magic with the use of the disco ball and even sparks of fire.

Finally, along with the script, the music is kept relevant with well-known songs that have been adapted slightly to work better with the story. The Band perform flawlessly and their contribution to the production pulls everything together effortlessly.

Get yourself down to Yeadon Town Hall for some good, old fashioned family fun with Yeadon Charities Association production of Cinderella: The Magical Pantomime.

Richmond Theatre  – until 18 January 2020

Reviewed by Carly Burlinge

5*****

Dial M For Murder was first premiered at Westminster Theatre in 1952 and was also made famous and well known by Alfred Hitchcock’s film. Adapted by Frederick Knott’s and directed by Anthony Banks.

Margot Wendice (Sally Bretton) is a wealthy women who is married to Tony Wendice  (Tom Chambers) an ex tennis pro who decides to give it all up for his loving wife. However when he discovers that she had an affair a year ago with a professional crime writer Max Halliday (Michael Salami) he tries to blackmail her into making her come clean. She chooses to keep things quiet and continues to go along with the blackmail in order to not get caught. Because of this he then decides to begin to plot the perfect murder. This involves him also blackmailing an old acquaintance from school, Captain Lescate (Christopher Harper) to help him but unfortunately things don’t quite work out as planned taking a turn for the worst. Leaving a murder to be solved by Police Inspector Hubbard (Christopher Harper).

This production is well worth a visit for Tom Chambers outstanding performance as Tony Wendice, a very calm, collective and confident character who has also played the part as charming and talkative using his chat to just about get out of any situation. He has only one thing on his mind though and that’s to get away with murder.

Margot Wendice (Sally Bretton) is a strong and likable character throughout, handling some of the more dramatic scenes with some powerful acting keeping the audiences at the edge of their seats.
Max Halliday played by Michael Salami, plays a very enthusiastic, adventurous writer with a lots of energy which was entertaining and enjoyable to watch on stage.

Christopher Harpers work as Inspector Hubbard was very distinguished as he plays an upfront, bold and blunt detective who with his very expressive ways had the audience in laughter throughout the play, giving a good sense of dramatic but also lively and amusing performance.  

Played in the flat of Tony and Margot Wendice, the set is lavish and  beautifully done to a high standard with great props.

The lighting and sound were extremely vibrant and loud with great music including some creepy tunes  for some of the more tragic and dramatic scenes which was gripping and exciting to watch.

This is definitely a must see production with a great cast full of intensity, superb acting. An all round fantastic night out that you won’t want to miss.

Applications now open for

The Alexandra’s 17^th Stage Experience

The Alexandra’s annual Stage Experience returns for another year, where the best in West Midlands talent will spend two weeks of their summer holiday alongside a professional creative team to put on a full-scale production of Fame The Musical.

Applications open today for 9 – 24 year olds who wish to take part in the historic project, with both opportunities for performers as well as those interested to take part behind the scenes in a limited number of technical spaces.

Stage Experience will take place from Friday 14^th to Saturday 29^th August and following an intense rehearsal period, culminates in 5 fully-staged performances on The Alexandra stage, complete with our professional orchestra, set, lighting, sound and costumes.

A unique opportunity to make new friends, hone skills in the fast-paced theatre environment, and ultimately experience what it is like to take part in a large-scale production on a par with west-end/touring musicals, the project is perfect for budding performers who want to experience treading the boards in a prestigious regional theatre.

For those interested in behind the scenes, Stage Experience technical places offer a rare opportunity to gain experience the areas of lighting, sound, wardrobe, flys, stage management and more.

To find out more and apply prospective participants should head to [bit.ly/fame2020]bit.ly/fame2020. The deadline for applications is Friday 17^th April, with auditions and technical interviews taking place on Sunday 26^th April and recalls for successful applicants on Sunday 3^rd May.

Fame The Musical, with its bittersweet and uplifting story and a score of unforgettable songs including Out Here On My Own, These Are My Children, Let’s Play A Love Scene and of course the famous theme song Fame, runs from Wednesday 26^th until Saturday 29^th August. See the stars of the future light up the sky like a flame next summer!

Fame The Musical was conceived and developed by David De Silva, with a book by Jose Fernandez, lyrics by Jacques Levy and music by Steve Margoshes. The Title Song “Fame” was written by Dean Pitchford and Michael Gore.

This amateur production is presented by arrangement with Music Theatre International (Europe). All authorised performance materials are also supplied by MTI Europe

Jason Manford to return as host for Olivier Awards 2020 with Mastercard

Jason Manford has been announced as the host of the Olivier Awards 2020 with Mastercard. This is the third time the comedian, actor and singer will host the prestigious ceremony, celebrating the best of London’s world-leading theatre, which takes place at the Royal Albert Hall on Sunday 5 April.

Jason Manford said:

‘It’s great to be back hosting the Olivier Awards. Having trod the boards myself many times, I’ve experienced first-hand the huge wealth of creativity and talent across the UK theatre industry.  I look forward to celebrating all the incredible work produced over the last year. It will definitely be a night to remember – see you at the Royal Albert Hall!’

Olivier Awards nominations will be announced on Tuesday 3 March, and public tickets for the ceremony go on sale on Friday 24 January, through priceless.com.

Further details of plans for this year’s Olivier Awards will be revealed soon.

OlivierAwards.com | Facebook | Twitter | Instagram

#OlivierAwards

New photography exhibition by Vanley Burke launches at Birmingham Hippodrome using augmented reality to bring the stories behind the portraits to life

A new exhibition has launched at Birmingham Hippodrome featuring portrait photography of Birmingham’s female Black elders by renowned photographer Vanley Burke.

Presented for the first time at Birmingham Hippodrome in association with Friction Arts, Home… is an exciting new exhibition that uses augmented reality to bring the stories behind the portraits to life. Photographed in the places they feel most at home, the augmented reality app plays the female Black elder’s recorded stories and tells the viewers directly what home means to them.

Jonathon Harris, Visual Arts Producer at Birmingham Hippodrome said: “This innovative exhibition of stunning portraits shares important stories from Birmingham’s Black community. The images beautifully embody the stories of these women and we are extremely proud to display photography by Vanley Burke as part of our visual and digital arts programme.”

Vanley Burke is often described as the ‘Godfather of Black British Photography’ and his iconic images have captured the evolving cultural landscape, social change, and stimulated debate in the United Kingdom over the past four decades. From local community organisations to the Victoria & Albert Museum and Whitechapel, Vanley has exhibited widely in the United Kingdom, and as far afield as New York, South Africa and China.

Vanley Burke said: “I wanted to create an exhibition that considers the places that we call home and questions what makes a place feel like home and explored the potential of augmented reality for ethical representation of the unsung heroes of everyday life.

“I’m delighted that Birmingham Hippodrome are displaying my work. It’s been a pleasure working with them and Friction Arts to make my vision a reality and I look forward to sharing my work with the people of Birmingham”

Lee Griffiths, Lead Artist at Friction Arts who worked with Vanley Burke and Birmingham Hippodrome to create the new exhibition, commented: “Home… came into being after we’d been working with older African-Caribbean women in North Birmingham. These women had been working hard whilst raising families for decades, yet we were hearing more and more of the precarity of their sense of belonging.

“In the wake of the ongoing Windrush scandals there was a palpable sense that the right of these women to remain in their adopted, or even their birth country was being put into question. Home… seeks to celebrate the strength and resilience of these citizens of Birmingham, their contribution to its success and growth and to share their stories with the wider world.”

One of the first women photographed for the exhibition was Sandra Martin, best known for her appearances on Channel 4’s Gogglebox, and she explained why she decided to take part: “It all came about through a lady I met at West Bromwich market. At first I wanted to really dress up for the photo and Vanley made me keep it simple, and I love the final photo because I was just comfortable in my home. But I did hold my phone though as I’m never off it!”

Home… is on display in the level 2 gallery at Birmingham Hippodrome. The exhibition is free to visit from 10am Monday to Saturday until Friday 21 February.

The Vaults and Fat Rascal Theatre Announce New Magical Immersive Dining Show : Hexborn’s School Of Sorcery

Following the success of Dinner is Coming, Red Palace, Aladdin and The

Feast of Wonders, Divine Proportions and Beauty and The Feast, The Vaults

announces a spellbinding new immersive theatre dining experience:

Hexborn’s School of Sorcery, a haven for witches, wizards and magical Misfits.

A collaboration with Fat Rascal Theatre, the award-winning creators of

previous hit shows Unfortunate: The Untold Story of Ursula The Sea Witch,

Vulvarine, and Buzz: A New Musical, Hexborn’s will

open its doors in September 2020.

Journey deep beneath Waterloo station, through the abandoned tunnels and into a world of magic and mischief. This Autumn, audiences are invited to become students again, where they’ll be sorted into one of four magical houses, attend classes, and explore the twisting corridors of Hexborn’s.

Whether it’s uncovering the mysteries of this strange new world or impressing your professors with your knowledge of mythical beasts, Hexborn’s will unleash your full magical potential – and you might even earn a few house points along the way!

The cauldrons are bubbling and the tables are piled high for the Start-of-Term Feast. But there are rumours of dark forces stirring… and everything is not quite as it seems. So grab your wands, don your robes and prepare to live out your childhood dreams. A new school year is about to begin…

LISTINGS

The Vaults London

Performance dates:  15 SEPT 2020 – 10JAN 2021

Visit: www.thevaults.london

Call: 02074019603

Sonia Friedman Productions

Gavin Kalin Productions, Rupert Gavin/Mallory Factor, Patrick Gracey/Scott M. Delman, 1001 Nights Productions, Eilene Davidson Productions, Tulchin Bartner Productions

in association with

Len Blavatnik, Louise & Brad Edgerton

present

UNCLE VANYA
By Anton Chekhov

In a new adaptation by Conor McPherson

Directed by Ian Rickson

• PRODUCTION IMAGES OF UNCLE VANYA RELEASED TODAY
• TOBY JONES, RICHARD ARMITAGE, ROSALIND ELEAZAR, AIMEE LOU WOOD, ANNA CALDER-MARSHALL, DEARBHLA MOLLOY, PETER WIGHT AND CIARÁN HINDS STAR IN A NEW ADAPTATION BY CONOR MCPHERSON, DIRECTED BY IAN RICKSON  
• NOW IN PREVIEWS, UNCLE VANYA OPENS ON THURSDAY 23 JANUARY AT THE HAROLD PINTER THEATRE

​ 

Toby Jones, Richard Armitage, Rosalind Eleazar, Aimee Lou Wood, Anna Calder-Marshall, Dearbhla Molloy, Peter Wight and Ciaran Hinds in Uncle Vanya, photographed by Johan Persson

Sonia Friedman Productions have today released production images for Conor McPherson’s (The Weir, Girl from the North Country) new adaptation of Uncle Vanya directed by Ian Rickson (Rosmersholm, Jerusalem, The Seagull) which is now in previews at the Harold Pinter Theatre.

Uncle Vanya is now in previews with Opening Night on Thursday 23rd January.

Toby Jones (The Birthday Party, Don’t Forget the Driver, Detectorists) stars in the title role of Vanya alongside Richard Armitage (The Crucible, Berlin Station, The Hobbit) as Astrov. Rosalind Eleazar (The Personal History of David Copperfield, Deep Water, The Starry Messenger) plays Yelena, with Aimee Lou Wood (Sex Education, Downstate) as Sonya, the Emmy Award-winning Anna Calder-Marshall (LOVE, Evening at the Talk House, Male of the Species) as Nana, the Olivier and Tony-award nominated Dearbhla Molloy (The Ferryman, Dancing at Lughnasa, Juno and the Paycock) as Grandmaman, Peter Wight (The Birthday Party, Hamlet, The Red Lion) as Telegin and Olivier Award-nominated Ciarán Hinds (Translations, Game of Thrones, Girl from the North Country) as Professor Serebryakov.

In the heat of summer, Sonya (Aimee Lou Wood) and her Uncle Vanya (Toby Jones) while away their days on a crumbling estate deep in the countryside, visited occasionally only by the local doctor Astrov (Richard Armitage).

However, when Sonya’s father Professor Serebryakov (Ciarán Hinds) suddenly returns with his restless, alluring, new wife Yelena (Rosalind Eleazar) declaring his intention to sell the house, the polite facades crumble and long repressed feelings start to emerge with devastating consequences.

Olivier Award-winner Conor McPherson’s stunning new adaptation of Anton Chekhov’s masterpiece, Uncle Vanya, is a portrayal of life at the turn of the 20th Century, full of tumultuous frustration, dark humour and hidden passions. Critically acclaimed director Ian Rickson returns to Chekhov for the first time since his landmark production of The Seagull in 2007, reuniting with BAFTA and Olivier Award-winner Toby Jones (The Birthday Party) alongside Richard Armitage, who returns to the UK stage six years after his Olivier Award-nominated performance in The Crucible. Uncle Vanya is the fourteenth collaboration between Ian Rickson and Sonia Friedman Productions, with previous productions including Rosmersholm, Jerusalem, Mojo, The River, Betrayal and The Children’s Hour.

Uncle Vanya is designed by Rae Smith, with lighting by Bruno Poet, music by Stephen Warbeck, sound by Ian Dickinson and casting by Amy Ball CDG.