Helen Forrester’s By The Waters Of Liverpool Gears Up For Spring 2020 Tour With North West Dates

Pulse Records Limited in association with Bill Elms present

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NEW HELEN FORRESTER PLAY

‘BY THE WATERS OF LIVERPOOL’

GEARS UP FOR SPRING 2020 UK TOUR

Headline cast set for 17-venue national tour opening in March with North West Dates

In less than two months, the brand new stage production of Helen Forrester’s By The Waters Of Liverpool embarks on a 17-venue tour across the UK.

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

And 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.

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

Following on from the Floral Pavilion in New Brighton, the show will visit venues in Stockport, Warrington, St Helens, Lancaster, Crewe, Southport, Rhyl, Swansea, Darlington, Malvern, Eastbourne, Isle Of Man, Hayes, Winchester, Liverpool and Blackpool.

By The Waters Of Liverpool is a stunning period drama produced by the team that brought the smash hit Twopence To Cross The Mersey to the stage.

The stellar cast features star names from stage and screen, including Sian Reeves and Mark Moraghan.

Sian has recently been seen in living rooms across the country appearing in Coronation Street – the world’s longest running TV soap opera. And she will be returning to the cobbles in late January as part of a key storyline.

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

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 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, 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.

Mark Moraghan is best known for his role as medic Owen Davies in Holby City. Other TV credits include Coronation Street, London’s Burning and Brookside. He has also appeared in Celebrity Masterchef, and was runner-up in TV singing contest Just The Two Of Us with Natasha Hamilton. Mark also made numerous guest appearances on Harry Enfield & Chums. Following in the tracks of Ringo Starr and Michael Angelis, Mark is now the voice of Thomas The Tank Engine. Theatre credits include My Fair Lady, MacBeth and Little Miss Sunshine.

Parry Glasspool is best known for playing Harry Thompson in Hollyoaks. He was born and raised in the Midlands, before moving to London to study for his BA Hons in Acting for Stage and Media at the University of West London. After five years in Hollyoaks, Parry recently made a dramatic exit in a high-profile storyline when he was murdered. Parry’s other television credits include Hollyoaks Later, Our Zoo, and film The Cutting Room. He was nominated for Best Newcomer at the prestigious National Television Awards in 2016.

Lucy Dixon hails from Greater Manchester. She is widely known for her television roles as Danielle Harker in Waterloo Road and Tilly Evans in Hollyoaks. Lucy received a nomination for Best Actress at the TV Choice Awards in 2012 for her portrayal of Tilly. The following year, she also featured on the longlist for Best Serial Drama Performance at the National Television Awards 2013. Lucy’s other TV credits include Birds Of A Feather, Casualty, Scott & Bailey, and Doctors. Theatre credits include Sweet Charity, The Girl From The Ward, Lord Of The Flies, and Peter Pan.

Eric Potts has been a regular face on TV screens for more than 20 years. The Scottish-born actor is best known for playing the eccentric baker Diggory Compton in Coronation Street. His other screen credits include Doctor Who, Heartbeat, The Royal, Last Of The Summer Wine, and Emmerdale. Eric’s theatre credits include Twelfth Night, Brassed Off, Footloose, and The Merry Wives Of Windsor.

Lynn Francis is a familiar face on theatre stages in Liverpool. Credits include Ladies Day, A Nightmare On Lime Street, Twopence To Cross The Mersey, and The Salon. On screen, she has appeared in Reds & Blues, The Ballad Of Dixie & Kenny, and Charlie Noades RIP. Lynn also worked alongside Ian Hart and Dougray Scott in The Lie Is Dead.

Returning to By The Waters Of Liverpool is Danny O’Brien. Danny recently played a starring role in the new stage play Lennon’s Banjo. His screen credits include House Of Anubis on Nickelodeon, and Good Cop. Theatre credits include Stags And Hens, Lost Souls, The Star, The Salon, The Rainbow Connection and Bouncers.

Roy Carruthers has featured in Twopence To Cross The Mersey and Lennon’s Banjo. His other theatre credits include Ladies Night, Funny Money, Night Collar, and The Price by Arthur Miller. Screen credits include Good Cop, Longford, and Sparkle.

Chloe McDonald is a graduate of the Liverpool Institute for Performing Arts. She has recently performed in Liverpool’s Unity Theatre, as well at fringe festivals in Edinburgh, Lahti and Gothenburg. Credits include The Pride, The Love Of The Nightingale, and Romeo And Juliet.

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.

Writer and friend of Helen Forrester, Rob Fennah has written both the stage play versions of Twopence To Cross The Mersey and By The Waters Of Liverpool.

Rob Fennah commented: “Although Helen is no longer with us, she is always in my thoughts. While I was writing By The Waters Of Liverpool, I imagined her looking over my shoulder to check all the little details were correct and in order. Even after all these years on from adapting Twopence To Cross The Mersey, I can still hear her voice in my head saying, ‘Make sure you get it right Rob, this is my life we’re talking about here!’. It’s a real privilege to be entrusted with her most famous works, but also a huge responsibility.”

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.

Rob added: “I’ve even managed to weave in a storyline from Helen’s fourth autobiography, Lime Street At Two. That way, the audience get a complete picture of her life. To make all this possible we use a technique called ‘story theatre’ whereby the actors form part of the landscape itself and take on multiple roles – over 50 different characters. It’s a fluid and very theatrical way of presenting such an epic tale and has proved to be a huge hit with our audiences.”

Helen Forrester’s son, Robert Bhatia, said“The partnership between playwright Rob Fennah and my mother Helen, and her legacy, has been outstanding.”

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 Forresters 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.

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:      01684 892277

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

THE DAME at the Ustinov Studio

Peter Duncan stars as a music hall legend with a dark past

THE DAME

Performed by PETER DUNCAN

Written by Katie Duncan

Directed by Ian Talbot

Ustinov Studio, Friday 24 January

Olivier Award nominated actor and former Blue Peter daredevil stars in a poignant and funny drama about a fading music hall legend. A lost world of seaside entertainment, piers and promenades is brought to life when seasoned pantomime Dame Ronald Roy Humphrey returns to his Northern roots. As the curtain falls on the last show of the day, Roy is in a wistful, melancholic mood, but as the years fall away, ghosts and memories from the past confront him with what he has spent his whole life trying to forget.,

THE DAME takes the audience on a journey inside the entertainer’s mind to expose the fragile creature beneath the make-up. However many masks we wear, the truth will always be revealed…

Peter Duncan returns to the Bath stage for the first time in twenty five years, when he played the Scarecrow in the RSC’s national tour of The Wizard of Oz. He is well-loved by a generation of Blue Peter viewers as the daredevil presenter who flew on a trapeze, trained with the Royal Marines, ran in the first London Marathon and cleaned the face of Big Ben’s clock tower without a safety harness, leading to his own TV series, Duncan Dares. Either side of his time on the programme, Duncan has had a distinguished stage career which began playing juvenile leads for Laurence Olivier at the National Theatre, before training at the Italia Conti School; musical theatre roles in Me & My GirlThe Card (which toured to the Theatre Royal Bath and for which he received his Olivier Award nomination) and Hairspray, and straight theatre performances in Sebastian Faulks’ Birdsong and Macbeth at the Regents’ Park Theatre.

Pantomime is in the Duncan family blood – Peter wrote and produced the Oxford Playhouse pantomime for eight years, and his parents were both performers who staged old time music hall shows on Brighton’s West Pier and pantomimes in Tunbridge Wells. THE DAME is written by his daughter Katie Duncan, and comes to Bath after successful appearances at the Edinburgh Festival and in London, for which she earned a Most Promising New Writer nomination in the 2019 OFFIES (The Off-West End Awards). THE DAME is directed by Ian Talbot, Artistic Director of Regent’s Park Theatre for over twenty years,

“An undeniably diverting turn by Peter Duncan… the writing is pungently vivid, in a well-paced production by Ian Talbot, this is a beguiling wander through the back alleys of Britain’s light-entertainment past” The Times

★★★★★ “A show of throbbing theatricality and powerful prose, written by one of Duncan’s daughters continuing in the dramatic tradition started by her grandparents. Duncan has the anger and pathos of a straight actor that can bring tears to the eyes” Broadway Baby

★★★★★ “A moving and mesmerising performance by Peter Duncan that demands our attention and deserves to be seen” ReviewsHub 

THE DAME is at the Ustinov Studio on Friday 24 January at 8pm. Tickets are on sale now from the Box Office on 01225 448844 or online at www.theatreroyal.org.uk/ustinov

National treasure Su Pollard in a new light | Harpy, UK Tour – March – May 2020

National treasure Su Pollard
to tour the UK in Harpy
UK TOUR: March – May 2020

Following a successful run at the Edinburgh Fringe Festival in 2018, personality and national treasure Su Pollard (Hi-De-Hi! and You Rang M’Lord?, BBC) returns to reprise her role in Harpy by award-winning playwright Philip Meeks (Kiss Me Honey, Honey!; Murder, Margaret and Me), as part of an extensive UK tour this Spring.

Best known for her star-turn as Peggy in the BAFTA award-winning sitcom Hi-de-Hi!, the muchloved Su Pollard has had a career in showbusiness spanning four decades. She returns to the stage as Birdie in Harpy, a play originally commissioned for her, now under new direction by Abigail Anderson (Pride and Prejudice, UK and South Korean tour; Macbeth and Much Ado About Nothing, Merely Theatre).

A tour-de-force performance from Pollard, Harpy is a heart wrenching exploration of one woman’s struggles with mental health and loneliness, manifesting itself through extreme hoarding. At heart it’s a bittersweet dramatic comedy, which showcases a grittier side to the Su Pollard of the eighties, and also asks us to look beyond our prejudices against those who appear to disrupt the norm.

The neighbours call Birdie a harridan and a harpy even though most of them have never even met her. They see her obsessive hoarding as detrimental to the value of their own homes. For Birdie, saving what others regard as the junk from her own life allows her to make sense of the world around her; her possessions are memories of a time past. Shunned by conventional society, she regards it as her duty to salvage these tiny histories that without her would be entirely forgotten.

Harpy is inspired by the retro cinematic sub-genre of Grand Dame Guignol – or ‘hag horror’ – wherein fading stars battled to survive by playing mad, potentially dangerous women or bewildered creatures in peril. Beneath their acting veneer were brave and brilliant women and Meeks is fascinated by their survival instincts. This idea of struggling and fighting for what we believe in comes to the fore in Harpy which seeks to explore mental health, questioning what madness really is.

Su comments, I am thrilled to be able to bring Harpy to a wider audience across the UK, having first performed it at the Edinburgh Festival in 2018. I hope the new audiences enjoy themselves as much as I’m enjoying revisiting this complex character. Philip Meeks’ writing is both funny and poignant, and many people have remarked at how relatable the content is, openly tackling issues of mental health.

Su Pollard gives the performance of her life, an unmissable tour-de-force of comedy and drama brought together in a fantastically constructed piece of theatre. (★★★★★ Theatre Weekly, Edinburgh Fringe 2018)

New seasons announced at Salisbury Playhouse and Salisbury Arts Centre

WILTSHIRE CREATIVE UNVEILS SPRING SUMMER SEASON AT SALISBURY ARTS CENTRE

· NEW: Exhibitions on Screen showcasing art by Lucian Freud and Frida Kahlo

· NEW: Launch of Salisbury Arts Centre Gin Club

· Dance is centre stage with James Wilton Dance and Levantes Dance Theatre

· Comedy from Living Spit and stand-up comedians Joz Norris and Flo & Joan

· A one-man Bon Jovi musical that is almost entirely imagined

· New musical show highlights Florence Nightingale’s Salisbury links

Tickets on general sale: 10am Friday 17 January 2020

A packed spring summer season at Salisbury Arts Centre includes new Exhibitions on Screen and dance performances alongside an almost entirely imagined Bon Jovi musical and the launch of the Arts Centre’s Gin Club.

New for 2020 are Exhibitions on Screen including cinematic immersions into exhibitions by the modern master Lucian Freud and by global icon Frida Kahlo. Lucian Freud: A Self Portrait will be streamed from the Royal Academy of Arts in London on 23 January revealing the painter’s life and work through a unique exhibition of his self-portraits. Frida Kahlo’s Exhibition on Screen follows in July.

Salisbury Arts Centre will host a solo exhibition of work by Cornwall-based artist Nicola Bealing to coincide with a production of Lorca’s Blood Wedding at Salisbury Playhouse, in which Nicola responds to the original Lorca play. The British Museum recently acquired eight of Nicola’s works for its permanent collection. Three Acts and Seven Scenes runs at Salisbury Arts Centre from 27 January until 28 March.

Dance takes centre stage at Salisbury Arts Centre as James Wilton Dance presents The Storm, a whirlwind of athleticism that combines break-dancing, martial arts and contact work performed by seven dancers to a soundtrack of electro-rock (21 March), and Levantes Dance Theatre presents awe-inspiring dance, theatre and circus to tell the story of 1970s one hit wonders Sandy & Bruno (23 April).

Comedy at Salisbury Arts Centre comes from Living Spit’s Swan Lake which promises to be the funniest micro-ballet ever (24-25 January) as well as stand-up comedians

Tom Stade (7 February), Joz Norris (22 February), Jen Brister (12 March) and Flo & Joan (5 March), recently seen at the Royal Variety Performance. Regular Barnstormers comedy nights continue from 31 January.

Music at Salisbury Arts Centre includes one of the world’s most innovative percussion ensembles, Ensemble Bash (15 February) using the music of West Africa as an influence. Paul O’Donnell presents an almost entirely imagined Bon Jovi musical (28 March) – use your imagination to conjure the cast, orchestra, scenery and dramatic key changes!

The Buster Keaton Picture Show sees acclaimed instrumental group Haiku Salut perform an original live score to Keaton’s 1926 comedy The General (3 April). Singer songwriter Louise Jordan brings her show Florence to the Arts Centre, shining a light on the Lady of the Lamp and her Salisbury connections in the 200th year of her birth (1 May).

July sees the first Gin Club at Salisbury Arts Centre with four gins, tonics and garnishes to sample while learning about their ingredients.

There is a full programme of films throughout the season including Wednesday matinees and Wednesday evening screenings of classics and family favourites plus regular live screenings.

Salisbury Arts Centre continues its busy programme of workshops from pottery to stand-up comedy and art classes.

Salisbury Arts Centre is open six days a week. For the full programme, visit www.wiltshirecreative.co.uk.

The King and I Review

Wales Millenium Centre – until 12 January 2020

Reviewed by Rhys Payne

3***

The King and I, which recently landed at Wales Millennium Centre, is a dramatic piece of classical theatre that would excite those who are a fan of this style of show and/or are fans of the original film. This production tried to stick as close to the original movie as possible, which was made almost seventy years ago, and I understand this was a different time but there were some very uncomfortable to watch scenes for a modern audience.

Like the film, the musical follows the life of Anna Leonowens the teacher on her travels to Siam. While there she experiences extreme culture shock and runs into somewhat of a conflict with the King that leads to many hilarious but also striking scenes. This is a musical that depicts what its like travelling and teaching abroad (as it demonstrates concepts such as the language barrier and culture clashes) which many people do not think about which is a very clever inclusion. What was also extremely clever was the fact that the concepts there were discussed earlier in the show reappear throughout which helps keep the audience engaged and allows them to follow the narrative easier. Despite this there were a few points in the story itself I have issues with. Like I have said earlier I completely understand that this movie/musical was developed many, many, many years ago but some of the scenes were difficult to watch. The whole show revolves around the ideas of patriarchal societies, multiple female lovers for the men and how women are only meant to be looked at. There is one particular scene in which a female character only says “oh no” and “what are we going to do now?” which have become female stereotypes and tropes that we, as a twenty-first-century audience, are not familiar with watching. On top of this was also a rule in place that no one’s head could be higher than the King (the King explicitly stated this) however constantly people towered over him and stood up while he was sat which completely contradict this rule he laid out. This again was very off-putting and distracting for the audience.

A highlight of this production occurred during the opening scenes. The show opened with a magnificent boat sailing across the stage which beautiful but also very clever how this piece of the set was utilised. The boat ‘sailed’ with elegance across the stage and the whole atmosphere of the stage was so perfect, the only thing that let this otherwise stunning scene was the staging of dialogue. The majority of the talking in this scene happened between actors while they were facing upstage meaning the audience could not see their facial reactions or see the words leaving their mouth which to me is half the fun of watching a show. The staging after this was somewhat disappointing for scenes such as the inside of the palace. This was simply a stone wall with moving bannister which moved way too much and was very distracting throughout. This is a show that keeps the focus on drama but stripping back on over-the-top staging, dance numbers, pyrotechnics etc which helped to showcase the performance of each person as, for the audience, there were very few distractions.

The highlight performance of this show had to be Jose Llana who played the King of Siam. He was hilariously funny and embodied everything this character needed to be. There has never been a character that at the beginning of the play I disliked (due to his arrogance and mistreatment of other characters) but at the end of the production, he had all my sympathy and affection. This is the mark of an extremely talented performer as he can manipulate the audiences feeling to whatever the actor wants. He is very professional and had the audience laughing throughout. I do wish that this character was given more songs to perform as when he did, his voice was beautiful to listen to.

Another excellent performance was by Cezarah Bonner who played the Kings first wife who delivered this role with a heightened sense of status and regality which worked excellently with this role. She also managed to balance the softer and more relatable side of the character with ease. A standout moment for this character was the song ‘Something Wonderful’ which was performed excellently and showcased the talent and vocal ability of Cezarah.

In conclusion, the King and I was a beautifully performed production that harks back to the theatre of yesteryear. This is a show for people who enjoy a more classical side of theatre and/or are fans of the original movie. It is a show for a more mature audience due to the nature of the show and the issues it deals with. Also, they were scenes in the show that were throwbacks to the film, and you could see the divide of people who have seen the original film and those who have not by the vigour of their reaction. A more contemporary and modern viewer it will be at times hard to watch. But despite all this, it was still a beautiful and stunning performance to watch with every member of the cast working extremely hard with the level of skill and performance of every person clearly on show. I would rate this performance as 3 out of 5 stars!

Ghost Stories Review

The Alexandra, Birmingham – until Saturday 11 January 2020, then Nationwide

Reviewed by Joanne Hodge

5*****

Let me start by saying that I’m scared of the dark. Terrified. So much so, that as I and my companion walked up to theatre, and noticed the flickering signs – intentional, or something more sinister? – they asked if it was a good idea to go on!

My fear, I think, stems from the fact that I was allowed to watch age-inappropriate horror movies as a child. I still watch them now – slightly like self torture.

Ghost Stories, written – from seemingly twisted imaginations – by Jeremy Dyson and Andy Nyman, begins it’s first nationwide tour at The Alexandra, some ten years after it’s creation. It’s previous success led to a film adaptation of the script with a somewhat stellar cast, so expectations were high. I wasn’t disappointed.

The show is a total immersive experience, even the theatre foyer and bar were adorned with crime scene tap, eerie lighting and random chalked numbers littered around the walls and mirrors. You didn’t know why, but it already set your senses on edge.

It’s advised the show is not suitable for those under the age of 15, and I would add to that that if you’re of a nervous disposition, STAY AWAY!
The anxiety and anticipation is heightened but the fact that warnings are given that latecomers need not bother to enter, and that if leaving the auditorium – even for an emergency toilet trip (I thought I might need several after many squeaky bum moments!) – you will not be allowed to re-enter.

The story revolves a narrative from Professor of Parapsychology, Phillip Goodman, played by Joshua Higgott. He takes us through a roller coaster of emotions as he guides us through three ‘ghost stories’, involving night-watchman Tony (Paul Hawkyard), teenager testing the boundaries Simon (Gus Gordon) and city-slicker Mike (the brilliant Richard Sutton), with all three adding some much needed moments of humour and light.

I can’t really say much else about the plot – those attending are asked not to, so as not to spoilt experience for those yet to se the show. What I will say however, is that if you enjoy the twist of an M. Night Shyamalan film, you’ll LOVE this.

Those eighties horror films of my youth were all brought back to me with some genuinely shocking and blood-curling moments. The experience shakes all of your senses, pushing you both toward the edge of your seat and back in toward the person next to you – whether you know them or not – as scenes change from set to set, dark to light and back again.

Design (Jon Bauser), lighting (James Farncombe) and sound (Nick Manning) have to be blamed for making these such a terrifying experience – and I say that in absolute awe of their work. Scott Penrose’s special effects also deserve mention in creating a show where you become part of the ensemble.

I thoroughly enjoyed Ghost Stories – even if it made driving at home late at night somewhat spookier. Should you see it? I’d say go and have a look if you think you’re brave enough!

Tom Brown’s School Days Review

Union Theatre – until 2 February 2020

Reviewed by Claire Roderick

4****

The Phil Willmott Company’s Essential Classics Season 2020, celebrating the 75th anniversary of V.E. Day, opens with a stirring adaptation of Tom Brown’s School Days. Set 100 years after the original novel, Thomas Hughes’ story doesn’t need much tweaking, as the traditions and unwritten rules of public schoolboys don’t evolve quickly.

Reuben Speed’s deceptively simple set captures the stuffy atmosphere of boarding school dorms and offices, and the cast’s glorious renditions of hymns and well-chosen early 20th century songs evokes a nostalgic glow and memories of school assemblies.

With most of the staff fighting in the war, Rugby’s masters are the men medically unfit to fight, or the walking wounded. The radical Dr Arnold has arrived as the new headmaster and his ideas don’t sit well with some of the staff, especially the raptor-like Grimstead (Toby Wynn-Davies). James Horne is stern and steely, but with a definite twinkle in his eye as Arnold, determined that the mistakes of the last war will never be repeated and on a mission to ensure that the boys leave the school morally fit to be leaders.

Unfortunately for new boy Tom Brown, this new ideal hasn’t affected the way in which Flashman and his cronies treat the younger boys, and Tom’s good-heartedness and refusal to comply with the bullies’ demands make him a prime target. Hudson Brown is delightful as Tom, wide-eyed and boisterously enthusiastic, and his 4th year pals are a real hoot when they are onstage together. Alex McKeon’s odious Flashman seems to be always lurking, watching for signs of weakness before he sets his cronies upon his victim with sneering viciousness. When Tom finally hits back, it’s hard not to jump up and cheer.

The violence is mostly offstage or happening behind a jostling group of boys, but this enhances the impact of such random cruelty, and Dr Arnold’s canings are wince inducingly convincing.

The theme of the school moulding boys into morally upright, fair and honest leaders with eternal bonds of friendship does elicit a few groans from the audience in today’s political climate, but the stiff upper lip goodness of the young boys is infectious, and there is lots of light comedy (mostly from Ursula Mohan’s hilarious salt-of-the-earth servant Sally) before we see the young men eventually leave school to fly, and probably die, together in the Battle of Britain. Phil Willmott has given this classic new life – a charming and dynamic start to the season.

Grand Opera House & City of York Council offer £5 theatre tickets to all aged 26 and under

GRAND OPERA HOUSE, YORK AND CITY OF YORK COUNCIL PARTNER TO OFFER STUDENTS

£5* TICKETS FOR ‘ONCE’

Grand Opera House York and City of York Council are offering anyone aged 26 and under £5 tickets to see the acclaimed Broadway and West End production of ONCE.

Based on the critically acclaimed and much-loved film, Once tells the uplifting yet yearning story of two lost souls – a Dublin street busker and a Czech musician – who unexpectedly fall in love. Following their relationship across five short days, big changes happen to both of them in little ways. Celebrated for its original score including the Academy Award-winning song Falling SlowlyOnce is a spell-binding and uplifting story of hopes and dreams.

Once embarks on its first major UK tour after acclaimed runs on Broadway and in the West End, and having won awards across the world including the Academy Award for Best Original Song, a Grammy for Best Musical Theatre Album, eight Tony Awards and an Olivier Award for Outstanding Achievement in Music.

To book go to: https://www.atgtickets.com/sho…/once/grand-opera-house-york/ Code: ONCE5

Mischief Theatre Return To Storyhouse With New Show Peter Pan Goes Wrong


MISCHIEF THEATRE RETURN TO

STORYHOUSE WITH NEW SHOW

PETER PAN GOES WRONG

Third visit for award-winning stage company

Show runs Tuesday 21 January to Sunday 26 January 2020

Multi award-winning theatre company Mischief Theatre is returning to Storyhouse in Chester this January with new show, Peter Pan Goes Wrong.

Mischief Theatre have already wowed Storyhouse audiences twice before with smash-hit shows, The Play That Goes Wrong and The Comedy About A Bank Robbery. And now the team are delighted play the Chester venue for a third time with yet another top show.

Peter Pan Goes Wrong comes to Storyhouse from Tuesday 21 January to Sunday 26 January 2020 for eight performances, including three matinees. Tickets are on sale.

The touring cast for Peter Pan Goes Wrong are Romayne Andrews (Dennis), Tom Babbage (Max), Georgia Bradley (Lucy), Connor Crawford (Chris), Katy Daghorn (Sandra), Phoebe Ellabani (Annie), Ciaran Kellgren (Jonathan), Ethan Moorhouse (Trevor), Oliver Senton (Robert), and Patrick Warner (Francis), with understudies Eboni DixonChristian JamesSoroosh Lavasani and Ava Pickett.

Co-written by Mischief Theatre company members Henry Lewis, Jonathan Sayer and Henry ShieldsPeter Pan Goes Wrongis a highly physical comedy packed with finely tuned farce and Buster Keaton-inspired slapstick, delivered with split-second timing and ambitious daring. The play sees the ‘Cornley Polytechnic Drama Society’ back on stage battling technical hitches, flying mishaps, and cast disputes as they attempt to present JM Barrie’s much-loved tale. But will they ever make it to Neverland?

Nominated for an Olivier Award for ‘Best New Comedy’ in 2016, Peter Pan Goes Wrong has enjoyed two West End seasons, a tour of Australia and New Zealand, and a UK tour. A one-hour version of the show was broadcast on primetime BBC One in December 2016, starring David Suchet as the guest narrator and was watched by an audience of over six million worldwide.

Peter Pan Goes Wrong is directed by Adam Meggido, with set designs by Simon Scullion, costumes by Roberto Surace, lighting by Matt Haskins, sound by Ella Wahlstrom, co-composed by Richard Baker and Rob Falconer, associate director Fred Gray.

Peter Pan Goes Wrong is produced by Kenny Wax Ltd and Stage Presence Ltd. A donation from every ticket sold is given to Great Ormond Street Hospital.

Mischief Theatre was founded in 2008 by a group of graduates of The London Academy of Music and Dramatic Art (LAMDA), and began as an improvised comedy group. Mischief Theatre performs across the UK and internationally with improvised and original scripted work.

Current productions include The Play That Goes Wrong which is now booking into its fifth year in the West End at the Duchess Theatre, and also touring the United States and playing Off Broadway, following a two-year run on Broadway and two sold out UK tours. The Comedy About A Bank Robbery is now in its third year in the West End at the Criterion Theatre, and last year enjoyed a nine-month UK tour. Their ‘Mischief Season’, a year-long West End residency at the Vaudeville Theatre premiering three new comedies opened with Groan Ups in September and was followed by Magic Goes Wrong in December. The third production has yet to be revealed.

Mischief is also set to launch a brand new six-part television series for BBC One, The Goes Wrong Show, written and starring the original founding Mischief Theatre members. Mischief Theatre is led by Artistic Director Henry Lewis and Company Director Jonathan Sayer.

Tickets for Peter Pan Goes Wrong are on sale now priced from £19.50. Each ticket is subject to a £1.50 booking fee.

Storyhouse has a dynamic pricing policy on the majority of shows, ensuring the earlier you book your tickets, guarantees the best seats at the lowest price.

Website:         www.peterpangoeswronglive.com

Facebook:       @pangoeswrong

Twitter:          @pangoeswrong

LISTING INFORMATION

PETER PAN GOES WRONG

Tuesday 21 January – Sunday 26 January 2020

STORYHOUSE

Hunter Street, Chester, CH1 2AR

Tuesday 21 January 2020 at 7.30pm

Wednesday 22 January 2020 at 2.30pm

Wednesday 22 January 2020 at 7.30pm

Thursday 23 January 2020 at 7.30pm

Friday 24 January 2020 at 7.30pm

Saturday 25 January 2020 at 2.30pm

Saturday 25 January 2020 at 7.30pm

Sunday 26 January 2020 at 2.30pm

Tickets from £19.50 – each ticket is subject to a £1.50 booking fee

Dynamic Pricing: Book early to guarantee cheapest and best seats

Recommended for aged 8 upwards

Running time 2 hours 10 minutes (including 20-minute interval)

HOW TO BOOK

Online:            Visit www.storyhouse.com

By Phone:       Call 01244 409 113

In person:       Visit the Ticket Kiosks at Storyhouse, Hunter Street, Chester, CH1 2AR

Website:         www.storyhouse.com

Facebook:       www.facebook.com/storyhouselive/

Twitter:           @StoryhouseLive

TANGRAM THEATRE AND PLEASANCE ANNOUNCE DOUBLE BILL DIRECTED BY DANIEL GOLDMAN

TANGRAM THEATRE AND PLEASANCE ANNOUNCE DOUBLE BILL DIRECTED BY

DANIEL GOLDMAN

Tangram Theatre and Pleasance today announce a double bill of UK premières directed by Daniel Goldman in his first return to the London stage since the critically acclaimed Thebes Land (2017 Off West End Award for Best Production).

Goldman renews his collaboration with Thebes Land writer Sergio Blanco for The Rage of Narcissus, which opens on 21 February, with previews from 18 February, and runs until 8 March. This is followed by Aaron Posner’s critically acclaimed Stupid F*cking Bird, which opens on 24 Aprilwith previews from 21 April, and runs until 17 May.

This season will also feature a new ticketing initiative for Pleasance that offers a number of £10 tickets for Under 30s and £5 tickets for Under 25s for each performance, excluding previews.

Daniel Goldman today said “It’s really exciting to be teaming up with Pleasance to bring these two brilliant plays to London. I’ve been talking with Sergio and Aaron for over three years now to make these shows happen and both plays have been hugely successful all over the world so it feels very special to be at the helm of their London and UK premieres. I can’t wait to share them. I think audiences are in for a real treat.” 

Daniel Goldman is an award-winning director, translator, playwright and producer. Directing credits include Thebes Land (Arcola Theatre – winner of the 2018 Off West End Award – Best Production), You’re not like the Other Girls Chrissy (co-directed with Omar Elerian, Bush Theatre), Wanawake Wa Heri Wa Windsa (Shakespeare’s Globe Theatre and international tour), Oedipus at Colonus (The Cambridge Greek Play), Frankenstein (Inside Out Theatre, Beijing), and Songs of Friendship with James Rowland (Three Weeks Editors Award). He has been the artistic director of Tangram Theatre Company since 2006 and was the artistic director of CASA Latin American Theatre Festival from 2007 until 2019.

Tangram Theatre and Pleasance present the UK première of

THE RAGE OF NARCISSUS

Written by Sergio Blanco

Translated and directed by Daniel Goldman

Set Designer: Natalie Johnson; Lighting Designer: Richard Williamson

18 February – 8 March

When Sergio arrives in Ljubljana to give a lecture on Narcissus, the first thing he does after checking in to his hotel room is to get on an app and look for someone to have sex with. A few hours later, once Igor has come and gone, Sergio spots a dark brown stain on the floor. Looking closer, he sees that it’s a blood stain. And looking around, he discovers more and more blood stains all over the room. 

As he begins to investigate, he gets drawn deeper and deeper into a dark murky world of desire, infatuation and murder.

Perfect material for the new play he’s trying to write – if he can get out of Ljubljana alive.

Described by Sergio himself as the dark side of Thebes Land, The Rage of Narcissus is a fascinating and disturbing journey into the labyrinth of the self and the darkness within us all.

Sergio Blanco is a Franco-Uruguayan playwright and director. His work – which has been translated, published and performed throughout the world – has been awarded the National Playwriting Award of Uruguay, the Playwriting Award of the Municipality of Montevideo, the Prize of the National Fund Theatre, the Florencio Award for Best Playwright, the International Casa de las Americas Prize, an Off West End Award, and The Theatre Award for the Best Text in Greece. His other works include ’45SlaughterOpus Sextum, KassandraEl Salto de DarwinTebas Land (Thebes Land), El Bramido de Düsseldorf and his most recent play Cuando pases sobre mi tumba

Tangram Theatre and Pleasance present the UK première of

STUPID F*CKING BIRD

Written by Aaron Posner

Directed by Daniel Goldman

21 April – 17 May

Forget the seagull. It’s just another stupid f*cking bird.

Con, angry young man and unpublished playwright, is writing a play for his girlfriend Nina. Nina, meanwhile is falling for the renowned author Doyle Trigorin, who happens to be dating Emma, an ex-hollywood star… and Con’s mother. Masha, the family cook, is in love with Con. Dev, Con’s best friend, is in love with Masha. No one is in love with Dev. And Sorn, Emma’s brother and Con’s uncle is very, very lonely. 

Oh and of course, there’s a far too easily accessible gun in the house.

In this award winning, irreverent, moving and wonderfully f*cked up adaptation of Chekhov’s The Seagull, US playwright Aaron Posner delves deep to show just how funny and disappointing love, art, and growing up can be— especially when you’re searching for meaning in a ridiculous world that just doesn’t really seem to care.

Aaron Posner is a US playwright and director. He has written and adapted over 20 plays, including Life Sucks, a new family musical called The Gift of Nothing, adaptations of Chaim Potok’s The Chosen and My Name is Asher Lev, Who Am I This Time? (And Other Conundrums of Love), based on short stories by Kurt Vonnegut. He is a founder and former Artistic Director of Philadelphia’s Arden Theatre and has directed at major regional theatres from coast to coast including the Folger Theatre and Milwaukee Rep (he is an Artistic Associate at both), Actor’s Theatre of Louisville, The Alliance, The American Repertory Theatre, Arizona Theatre Company, California Shakespeare Theatre, and Seattle Rep.

Stupid F*cking Bird is supported by Arts Council England and Cockayne Foundation

Pleasance, Islington                                                                                                                                  Listings

Carpenters Mews, North Road, London, N7 9EF

Box Office: 020 7609 1800

https://www.pleasance.co.uk/

THE RAGE OF NARCISSUS

18 February – 8 March

Tuesday – Saturday at 7.30pm, Sunday at 5.30pm

Saturday (from 29th February) matinee at 3pm

Ticket Prices

£14 previews / £18 – £22 full price

U30 ticket: £10 (subject to availability)

Warnings:16+. Graphic descriptions of violence and images of pornography

STUPID F*CKING BIRD

21 April – 17 May

Tuesday – Saturday at 7.30pm, Sunday at 5.30pm

Saturday (from 2 May) and Wednesday (from 6 May) matinees at 3pm

Ticket Prices

£14 previews / £18 – £22 full price

U25 ticket: £5 (subject to availability)

Warnings:Strong language and nudity.