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Cambridge Arts Theatre, Cambridge – until 25 January 2020

Reviewed by Steph Lott

4****

I wasn’t quite sure what to expect of the production of “The Sound Of Music” by the Cambridge Operatic Society. I, like most people I’m sure, have very fond memories of watching “The Sound of Music” on television or at the cinema, as a family, as a child. It’s iconic and Julie Andrews in particular is a hard act to follow.

I was therefore intrigued as to how it would translate from the silver screen to the stage.

I was not disappointed. I found the whole experience charming and thoroughly enjoyed the performance. It was a sweetly nostalgic evening, with splendid renditions of familiar songs.

I have already used the word “charming” and I may have to use it again or find suitable synonyms for the term! The highlight of the play for me was the Von Trapp children, played in the production I saw, by Team Mountains, consisting of Ekaterina Rah-Bohr, Oliver, Lily, Bruce, Beatrice, Isabel and Amalie. I was completely caught up by their wonderful singing and their chemistry as a family. Simply gorgeous and so endearing to watch. I also want to mention Ursula, played by Alice Barlow, who delivered her comedic part with wonderful timing, causing appreciative chuckles in the audience.

I attended first night and there are some points in the production that do need a little attention. When Maria (Christine Poole) first came on stage she seemed a little static and frozen which completely disappeared however once she was with the children.

There is also some chemistry that doesn’t work, for example between Maria (Christine Poole) and Von Trapp (Matt Gregory). I think the restraint and formality of Von Trapp conceals a deep passion for his family, his country and ultimately for Maria, but it came over as slightly stilted. I’m also not sure of staging which has 2 characters (Maria and Von Trapp) which, when they declare their love for each other, has them facing the audience and not looking at each other. The other incident which made me smile was when Elsa Schraeder (played by Sally Goldsmith) and Von Trapp decided to part company – neither party seemed particularly bothered by the prospect!

I am not surprised that it would be the acting and staging, if anything, that would require a bit of finessing when a musical is presented by an Operatic Society; the singing and the music, however, most certainly did not – it was glorious! Worthy of special mention is of course Christine Poole’s wonderful performance as Maria – she certainly gave Julie Andrews a run for her money! I also loved Caroline Dyson’s depiction of the Mother Abbess and I found the scenes between Maria and the Mother Abbess truly touching.

In summary I would thoroughly recommend seeing this production of “The Sound of Music”. It was charming (there’s that word again!) and funny and I loved hearing all those wonderful songs that I remember so well, sung and played so beautifully. Although it was a stage production it managed to capture the spirit and charm of the film.

And of course there are nuns. Wonderful nuns. Don’t forget those!

Southwark Playhouse – until 22 February 2020

Reviewed by Claire Roderick

4****

Every Wednesday morning, between 12 and 4 a.m., 4 people man the phone lines of Brightline, fielding calls from people who need to talk through their problems, as well as a few perverts. Connecting with strangers who are in despair is hard enough, but Sam Steiner’s bittersweet comedy takes place in a world that is nearing the end. The characters wear gasmasks to go outside, and snippets of information about the toxic state of the ocean and lack of trees are included, as well as descriptions of bridges and places that “went down”.

In this world where there is obviously no long term future, seventeen year old Joey (Andrew Finnigan) still has to do work experience, and determinedly upbeat Frances (Jenni Maitland) takes him under her wing. Also on the shift are sardonic Jon (Andy Rush) and sweet but manic Angie (Lydia Larson). The sense of impending doom outside the shabby room, which gradually becomes a flooded wreck is inescapable, but the four very different people seem to find purpose and community in their time together.

Amy Jane Cook’s set is a triumph, with tatty “inspirational” posters, clichéd word of the week boards and a jumble of furniture and technology from different eras. It could be a dismal office in any industrial park.

The first act is a little meandering, but it sets up the characters beautifully, dropping hints about their own lives and problems to explain why they turn up every week. Listening to just one side of their conversations is intriguing and Steiner often has all four on the phone creating an overlapping rhythm. There are some hilarious one liners and reactions from the talented cast, with Lydia Larson stealing every scene as wide eyed Angie. Her innocent excitement as she waxes lyrical about a tissue box makes her reaction to a devastating call even more heart wrenching. Jenni Maitland is wonderful as the warm but brittle Frances, spouting jargon and clichés as she keeps the centre running, but finally cracking her mask of cheerful efficiency as she talks about her pregnancy. Andy Rush gives a fantastic nuanced performance as frustrated Jon, with his eventual outburst, and trombone recital, leaving you laughing and sobbing. Andrew Finnigan is wonderfully still and awkward as Joey, with the characters warmth and naive wisdom gradually shining through.

The dark humour and ridiculous normality found in extreme circumstances lifts Steiner’s play out of the darkness, and the warm glow of candlelight as the play ends is matched by the warm glow of compassion and community the characters embody. The explanation of the play’s title can’t fail to bring a nostalgic smile, and even if some people find this a little trite, we all need a little light in dark times.

Hilarious and moving in equal measure, You Stupid Darkness! is a must see production

GIMME! GIMME! GIMME! MAMMA MIA! RETURNS TO LEEDS GRAND THEATRE

• GENERAL PUBLIC ONSALE WEDNESDAY 29 JANUARY

The West End and global phenomenon MAMMA MIA! returns to Leeds Grand Theatre from Tuesday 24 November to Saturday 5 December 2020as part of a UK and International Tour celebrating 20 years since MAMMA MIA! premiered in London in April 1999.

With music and lyrics by Benny Andersson and Björn Ulvaeus, MAMMA MIA! is Judy Craymer’s ingenious vision of staging the story-telling magic of ABBA’s timeless songs with a sunny, funny tale of a mother, a daughter and three possible dads unfolding on a Greek island idyll.

To date, it has been seen by over 65 million people in 50 productions in 16 different languages.  In 2011 it became the first Western musical ever to be staged in Mandarin in the People’s Republic of China.  MAMMA MIA! became the eighth longest running show in Broadway history, where it played a record-breaking run for 14 years. MAMMA MIA! continues to thrill audiences in London’s West End at the Novello Theatre where it celebrated its 20^th Anniversary on 6 April 2019.

Produced by Judy Craymer, MAMMA MIA! The Movie became the highest grossing live action musical film of all time upon its release in 2008.  A second film, MAMMA MIA! HERE WE GO AGAIN, opened in July 2018 and is the most successful live musical movie sequel of all time.

MAMMA MIA! is at Leeds Grand Theatre from Tuesday 24 November to Saturday 5 December 2020

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

Playhouse Theatre, Edinburgh – until 18 April 2020

Reviewed by Hannah Plumb

5*****

Since announcing its return to the capital Edinburgh audience has awaited the arrival of The Lion King with much excitement. I am glad to say that the show lives up to that expectation. The 1997 West End showstopper feels just as alive today as when it first opened. There is always a fear with big brassy shows that they will lose some of their magic when taken out of their home theatre but this is not the case with this production. 

Following the classic story of everyone’s favourite mischievous lion cub Simba as he journeys to follow his destiny and become King of the Pride Rock. A timeless tale of bravery, friendship, love and family. 

From the moment the lights go down the colourful scenery, spectacular performers and breathtaking score transport the audience into the African Savannah. There are very few theatrical experiences that can match seeing “Circle of Life” performed live in front of you. No matter how ‘grown-up’ you think you are I defy anyone to not turn back into a little kid when the theatre floods with giraffes, antelope and rhinos. The puppets are beautiful and the puppeteers are phenomenal using their bodies to bring the animals alive. I particularly enjoyed the baby elephant. The entire cast on The Lion King is so impressive, whether it’s the spot-on movement which convinces you there is a herd of buffalo galloping towards you. Or the vocals that create the atmosphere of Pride Rock and belt out the well-loved score. 

While all the performances in The Lion King are of an astonishingly high standard the physicality and vocal characterisation of Thandazile Soni’s Rafiki deserve a particular mention. From the word go her animated depiction of everyone’s favourite baboon tells the audience they are in for something special. Another standout performance was Jean-Luc Guizonne as Mufasa. His strong voice and powerful physicality made him a presence that captured your attention every time he was on stage. 

The entire production is well balanced and provides moments tailored for both adults and children. Making this a really family-friendly show. It combines clever comedy and vibrant pictures which make it enjoyable for everyone. The live music, led by conductor Jonathan Gill is nothing short of spectacular. The combination of the orchestra and singers means this is a show that you could go to close your eyes and enjoy the music alone.

It’s no wonder that The Lion King has extended its stay in Edinburgh between the standing ovations and the roof-raising cheers I have no doubt that every audience member is going home and spreading the word that The Lion King is not to be missed. 

Tyne Theatre and Opera House celebrates
five years of independence

The Tyne Theatre and Opera House are celebrating five years since becoming an independent venue in January 2015. In the five years whilst operating independently, the Theatre has seen significant and growing success which will serve as a firm foundation to build upon into the next decade and beyond.

The Grade 1 listed Theatre was built in 1867 by industrialist and politician Joseph Cowen who envisioned ‘a Theatre for everyone’ during a time of heavy industry when life was hard. The warmth, light and escapism of the Theatre answered a major need for working people.

Over 150 years later, the Tyne Theatre & Opera House continues to hold Cowen’s vision of ‘a Theatre for everyone’ at the heart of their ethos.

Joanne Johnson, Theatre Director, said “We work to create a warm and welcoming space with a varied events programme that offers something to appeal to all. We can’t wait to continue to welcome new and returning audiences to the Tyne Theatre and Opera House in 2020.”

After years of private ownership, the Theatre is now its own charity which took the brave step to set up its own operating company in 2015, with the objective that all funds generated by the operations are now reinvested back into the heritage asset.

The last five years has seen a significant growth in the success of the Theatre with the number of events increasing from 148 in the first year of independence to an average of 224 events per year from 2017 to 2019.

Over the last five years the Theatre has welcomed household names such as; Dame Joan Collins, Sir Roger Moore, John Carpenter, Anthony Joshua, Alan Shearer, Michael Palin, Joe McElderry, Seth Lakeman, Sharon Van Etten, productions from Russian State Ballet & Opera House, the Season 1 cast of RuPaul’s Drag Race UK and the podcast No Such Thing As A Fish.

The comedy programme in particular has seen great success with; Sarah Millican, Chris Ramsey, Romesh Ranganathan, Dylan Moran, Katherine Ryan, Ed Byrne, Count Arthur Strong, Ben Elton and James Acaster all having taken the Tyne Theatre stage over the last five years.

Upcoming events continue to showcase the diversity of the programme and include; the sell out An Evening With Vic and Bob, poet and songwriter Satinder Sartaaj, Status Quo’s Francis Rossi, writer and podcaster Adam Buxton, Strictly Come Dancing favourite Giovanni Pernice, stand-up superstar John Bishop and the annual Tyne Theatre Productions show The Full Monty.

Income from theatre hire has also more than doubled during the five years of independence, as has the number of core staff, from 6 in 2015 to the current 12.

This measurable and significant growth has been made possible by the hard work of the permanent, part-time and casual staff, and the dedicated trustees and volunteers. However, these efforts would be fruitless without the support of first-time and returning audiences. If not for their visits, donations and feedback, the growing success of the Theatre would not be possible.

Demonstrating a commitment to restoration of the listed building, the Theatre has introduced Name a Seat and a Friends’ Club scheme to raise money for refurbishment. Along with a small levy on some tickets and theatre-goer donations, the Trust has been able to refurbish many areas of the Theatre including over 60% of the seats in the stalls and grand circle. Plans are in place to complete the seat refurbishment and refurbish the toilets.

The Trust also runs a very popular Theatre Tours programme and works closely with local community groups, schools, colleges and universities.

Looking ahead, the Theatre hopes to build on its success and continue to run a warm and welcoming venue for the people of Newcastle upon Tyne and surrounding areas.

Michael Wilmot, Chairman of the Trust, has said “These are exciting times for the Tyne Theatre and Opera House which is unique for its lavish auditorium, its world class acoustics and its complete Victorian wooden stage machinery. We are proud to be an independent venue employing our own staff, that now generates sufficient annual surpluses to allow us to reinvest and gradually restore one of Newcastle’s most loved buildings. We are looking forward to continuing to grow our audiences and participation with our beautiful Theatre over the next decade.”

More information on the Theatre and upcoming shows at:
www.tynetheatreandoperahouse.uk

VAULT Festival, Leake Street, London SE1 7NN
Tuesday 3rd – Sunday 8th March 2020

V&V tells the iconic love story of literary treasure Virginia Woolf and esteemed socialite Vita Sackville-West, alongside a modern narrative of Lottie from Tunbridge Wells and love cynic Mia. Shortlisted for the Charlie Hartill Theatre Reserve 2019, V&V now makes its debut at VAULT Festival 2020 exploring communication then and now.

Through carefully crafted letters that were anticipated with relish, Vita Sackville-West and Virginia Woolf began an exquisite romance almost a century ago. They conquered each other’s hearts with wit and elegance inked onto a page. Luckily, their husbands didn’t mind.

Today, in the overwhelmingly tangled world of dating apps, Mia and Lottie meet online, flirting through the beam of a phone screen. When an emoji can change not just the tone of the conversation but its entire meaning, reading between the lines becomes a whole new challenge.

Examining the importance of communication in a relationship and how it can fall prey to misinterpretation, the piece interrogates the life-changing impact of technology. The contemporary story explores the sending of messages in the heat of the moment and the regret that can follow. The letters of Vita and Virginia reveal two women engaging in a beautiful but sometimes fraught relationship, as they are frequently physically separated. Hurtful messages sent instantly without thought can become immortalised in a screenshot; messages unsent can haunt a person forever.

Writer and director Misha Pinnington comments, It’s fascinating to explore how communication has changed over time, especially now in our global landscape of technological immediacy. I was lucky enough to hear Juliet Nicholson (descendant of Vita Sackville-West) speak about the physical and epistemological relationship between Vita Sackville-West and Virginia Woolf, which inspired this play. We have two actors who will explore how women communicated romantically both in the early 20th Century and in the modern day. Have we lost the passion that old fashioned letter writing facilitated, or is this new dating app culture equally as romantic?

CAMBRIDGE AUDIENCES RAISE OVER
£18,000 FOR SELECTED CHARITIES

Audiences for Cambridge Arts Theatre’s spectacular family pantomime, Cinderella, raised over £18,000 – an outstanding £3,000 more than the year prior – for several selected charitable causes through bucket collections.

The charities that benefited from the audiences’ generosity are: Cambridge Joint Playschemes, The Laughter Specialists, Headway Cambridgeshire, Macmillan Cambridge, Addenbrooke’s Hospital Paediatric Music Therapy, Prostate Cancer UK, Royal Society for Blind Children, and the Theatre’s inhouse charity Panto Wheels scheme, which enables students from disadvantaged areas and those with special educational needs to experience a trip to the pantomime.

Kat Collins, Head of Sales and Marketing at Cambridge Arts Theatre: “We are all delighted with the amount of money our audiences have raised this year, particularly as funds managed to surpass last year’s total. The selected charities will benefit immensely and are extremely grateful of our audiences’ generosity; from the Theatre staff and the Cinderella company, we extend a huge thank you to everyone who donated across the pantomime season.”

Money raised by the Theatre’s in-house charity Panto Wheels enabled 4,353 school children to come and see Cinderella, subsidising both travel expenditure and ticket cost. This year a total of 50 schools from Cambridgeshire attended the pantomime.

The play opened at Everyman Theatre, Cheltenham on 22 January, and will continue to tour the UK until 18 April 2020.

THE CROFT is set in the remote Scottish Highlands village of Coillie Ghille, where we encounter three women from different eras whose lives are intertwined by the croft’s dark history. In the 1880’s, we have Enid, the last person left in the village – she’s resilient, a survivor, who 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, David. In the present day, Laura returns with her friend Suzanne to her parent’s croft after her mother Ruth’s death. They discover the terrifying truth that lurks within the croft. In this bold and haunting play, the present interweaves with the past, as these women search for love in the midst of great danger. As we watch their stories intertwine and ancient tales surface, can the present heal the past?

Starring Gwen Taylor, Caroline Harker, Drew Cain, Lucy Doyle and Simon Roberts.

THE CROFT is directed by the award-winning director Philip Franks and produced by The Original Theatre Company.

TALAWA THEATRE COMPANY

REVEALS FIRST PRODUCTION AT NEW HOME

Run It Back revealed as first production to be staged at
Talawa Theatre Company’s new residence

To coincide with relaunch of the TYPT programme: the progenitor of
Run It Back

26 – 28 March & 2 – 4 April 2020

Talawa Theatre Company will be opening the Talawa Studio at Fairfield Halls with a revival of their sell-out show Run It Back. Conceived and directed by Coral Messam, created with Gail Babb, and devised by TYPT:18, Run It Back brings rave to theatre, exploring how Black British music liberates, connects and divides while fighting to stay alive in the face of disappearing spaces and changing legislation.

Set in an explosive club night, Run It Back immerses the audience in Black British club culture with dance, physical theatre and a live set from DJ and turntablist Psykhomantus.

A disused warehouse. A party rages. Distorted bass pulses through the streets, calling the ravers in. Lost in the music and dripping with sweat, they surrender to the DJ’s game. Bring your rags and flags for a night of theatre powered by grime, bashment and afrobeat.

Talawa Theatre Company’s Artistic Director, Michael Buffong, said: “For 34 years Talawa Theatre Company has been an essential platform for Black creative talent creating fresh, innovative and unapologetic work. Run it Back is an example of just such a story – vital and dynamic, telling the story of Black British culture in the here and now. Talawa’s new home is providing space for new stories that will fill the next chapter of Black British theatre history for audiences everywhere.”

TYPT alumni include Michaela Coel (E4’s Chewing Gum and The Aliens, Channel 4’s Top Boy and Home, National Theatre), Nonso Anozie (HBO’s Game of Thrones, CBS’ Zoo and Disney’s Cinderella), Shanika Warren-Markland (Noel Clarke’s Adulthood, Brotherhood and 4321 and BFI’s Gone Too Far!), Sandra Thompson-Quartey (Artistic Director High Rise Avenue Theatre Company and Talent Agency), Femi Oguns MBE (Director of The Identity Drama School), Natasha Marshall (Talawa Theatre Company, Soho Theatre and Channel 4’s Half Breed).

Originally created by TYPT 2018, Run It Back’s performance coincides with the relaunch of TYPT as an intensive programme for young Black theatre makers over an extended period. Previously run as a summer school culminating in a devised production at the end of one month, TYPT will now run from April – December each year, enabling a larger cohort to take part in on and off stage roles to devise a new production.

TYPT applications from aspiring Black artists and theatre makers aged 18 – 25 will open at the end of January. The new nine-month TYPT schedule will enable artists to learn from established performers and directors as well as from leaders in off stage fields such as writing, stage management, lighting, sound and set and costume design.

Participants in the relaunched TYPT will be supported to build peer networks and deepen their engagement with the theatre industry, giving them the platform to create bold new work which grows the diverse audiences of the future.

Havingtaken up residence in September 2019 within the redeveloped Fairfield Halls in Croydon, Run It Back celebrates the opening of Talawa Studio, Talawa’s first on-site R&D and performance space since 1995. As well as allowing the company to develop and premiere new work, the space operates as a central hub for Black artists.

As a development of its community outreach programme, Talawa Theatre Company is pleased to announce its participation in C3: a three-year Croydon Youth Arts training programme. As a delivery partner, Talawa Theatre Company will support young people and partner organisations to deliver life-changing opportunities for young people in Croydon.

Talawa Theatre Company is the most successful Black theatre company in the UK. They have established a track record of producing work which shines a spotlight on Black artists, creating theatre for diverse audiences across the country. Mounting more than 80 productions over their 34-year history, their current production, Run It Back, opens the Talawa Studio at Fairfield Halls. Later in 2020, Talawa are co-producing Archie Maddocks’ debut play A Place for We with Park Theatre. The Tide was a 2019 collaboration with Breakin’ Convention, Greenwich & Docklands International Festival and Talawa’s first exclusively outdoor production. Also in 2019 Talawa’s co-production of Superhoe by Nicole Lecky played at the Royal Court. Other recent productions have included collaborations with Soho Theatre for Natasha Marshall’s Half Breed; Royal Exchange Theatre for Guys & Dolls, King Lear (in association with Birmingham Repertory Theatre) and All My Sons (Royal Exchange Theatre, UK tour); Girls by Theresa Ikoko (co-production with Soho Theatre, HighTide).

THE KING AND I: Interview with Annalene Beechey

What first attracted you to the part of Anna?

“Absolutely everything. Anna has a wonderful journey throughout this show, she’s tough, feisty, funny, warm and believes so passionately in the power of knowledge. She also has the most beautiful songs- vocally and lyrically.”

What were your first thoughts when you were offered the role?

“I was, and still am, very honoured to play this role. It’s a Rodgers and Hammerstein classic musical and Bartlett Sher’s Tony Award winning Production is simply beautiful. I was also maybe a little worried about dancing the polka in that huge skirt.”

If you could go back in time and meet the real life Anna what would you say to her?

“I’d tell her how extraordinary she is. A courageous pioneer. And how much I admire her. I’d have questions: ‘How and why did she do it?’ How frightening it must have been to move herself and her son to another country speaking another language, different culture.”

There is a real love story at the heart of the musical – what do you think attracts Anna to the King?

“There is a tremendous amount of respect between Anna and the King, which grows throughout the show. Anna sees in the King, a man who wants to know everything, to be the best that he can be to protect his people, which sparks in Anna a challenge, and a sort of mutual admiration.”

The King is a very single-minded character what qualities does Anna have to win him around to her way of thinking?

“I’m not sure she ever does. But what she does do is spark even more questions in him. Anna constantly challenges him to look at every angle, and to do the right thing. He was a very progressive King and she could offer the real knowledge and experience of the western world which she understood would be invaluable to him.”

In lots of ways Anna was a modern woman do think this is why the story has stood the test of time?

“Very much so. If you ignore the period costumes and just look at the bare bones of this story, you see a single working mother doing the best she can for her son. She fights for what she believes in, and cares very deeply for the world in which she is preparing her pupils to live.”

What can audiences expect from the show?

“Bartlett Sher’s multi Tony Award winning Lincoln Centre Theatre production is elegant and classy. Critically acclaimed Broadway star, Jose Llama is reprising his role as the King, having played him on Broadway and on the American tour. The show has the most glorious Rodgers and Hammerstein score with songs like Whistle A Happy Tune, Getting to Know You, Shall We Dance and so many more. It’s heart wrenching, funny, intimate, passionate, and opulent. There is so much to enjoy with this production but at its heart it’s simply an extraordinary true story of the King of Siam and an English schoolteacher.”

What are you doing to prepare for the role?

“It’s an enormous role. Requiring physical, vocal and emotional strength. The dialogue is fast paced with lovely long scenes to get your teeth into, so I’m revising like crazy. But mainly I’m building up my stamina. I run and I do yoga regularly. You need a strong core for the corset and large skirts.”

What’s it like to dance in a crinoline?

“Hard. You stop and it keeps moving. And it’s very heavy, almost 20 kilos in weight.”

What’s your favourite number in the show?

“Hard to choose. The ballet is extraordinary. The first time I saw the cast perform it in the rehearsal room, I cried. It took my breath away. And still does. It’s a privilege to watch our incredible dancers perform this up close. Out of the songs I sing, I love performing Hello Young Lovers.”

What do you love most about musical theatre?

“It can communicate on so many levels all at once. Music, drama, and dance all colliding in a burst of emotions, and it doesn’t shy away from that. A good musical should take you through it all in one night, the tears and laughter and everything in between. The drama of dialogue is underscored to heighten each emotion, characters sing because words simply aren’t enough and dance because only their bodies can release the feelings they are experiencing. Pure escapism.”

What was your first experience of musical theatre?

“I saw Phantom of the Opera when I was 12 years old and just knew this was what I wanted to do.

What’s the most challenging aspect of touring?

“Being away from my family. I have a husband and two children, so thank goodness for technology, but as long as I can see them at the weekends we’re all ok.”

When you’re on tour – what’s the one thing you can’t live without?

“Only one thing? I hate to admit it, but it’s my phone. Aside from that. Earplugs. And my pillow. I need my sleep.”

BroadwayWorld describes your voice as “angelic” and “a pleasure to listen to”. How do you take care of it?

“That’s very lovely. I look after it. I steam my voice, drink lots of water, wear a lot of scarves in the colder months and try not to eat too much chocolate.”

How does this part differ from other roles that you’ve played?

“I’ve never played a mother before actually. And I love working with the children on stage. They are just wonderful, all so individual, full of energy, funny, sweet and we do have a local young actor joining us as one of the children.”