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CAROLYN MAITLAND, 

DAVE WILLETTS &

SAM ATTWATER STAR IN

RAGS THE MUSICAL

AT PARK THEATRE, LONDON

FROM 9 JANUARY TO 8 FEBRUARY 2020

FULL CAST ANNOUNCED

Katy Lipson for Aria Entertainment and Joseph Houston and William Whelton for Hope Mill Theatre are delighted to announce that Carolyn Maitland, Dave Willetts and Sam Attwater will star as Rebecca, Avram and Bronfman respectively in RAGS The Musical at Park Theatre, London. The show will run for a limited season from 9 January to 8 February 2020, with a press night on 14 January.  RAGS The Musical has a book by Joseph Stein (Fiddler on the Roof), revised book by David Thompson, lyrics by Stephen Schwartz (Wicked) and music by Charles Strouse (Annie).  

Carolyn Maitland’s credits include Molly in Ghost (UK tour), Groundhog Day (The Old Vic), Sally Bowles in Cabaret (David Adkin Ltd & ACT Aberdeen), Ellen in Miss Saigon (Prince Edward Theatre), Kathy Selden in Singin’ in the Rain (Kilworth House Theatre), From Here to Eternity (Shaftesbury Theatre), Kiss Me, Kate (Chichester Festival Theatre) and Legally Blonde (Savoy Theatre). Most recently, Carolyn played Grace Farrell in Annie (Ed Mirvish Theatre, Toronto) and Marian in The Woman in White (Charing Cross Theatre).

Dave Willetts is one of the UK’s leading musical theatre stars, having played some of the best-loved leading roles in the West End, including Jean Valjean in Les Misérables, the Phantom in The Phantom of the Opera, Old Deuteronomy in Cats and Jesus in Jesus Christ Superstar. Some of Dave’s other roles include George in Trevor Nunn’s production of Aspects of Love (Menier Chocolate Factory), Adam Pontipee in Seven Brides for Seven Brothers (National tour and West End), Julian Marsh in 42^nd Street (National tour), Max von Meyerling in Sunset Boulevard (West End), for which he received an Olivier Award nomination, and Sweeney Todd in Sweeney Todd (National tour).

Sam Attwater is best known for his roles as Leon in EastEnders and Ricky in Hollyoaks.  He won the sixth series of Dancing on Ice in 2011 and participated in the ‘All Stars’ series in 2014, finishing in fourth place. On stage, his credits include Micky Deans in End of the Rainbow (UK tour), Adam Pontipee in Seven Brides for Seven Brothers (UK tour), Brad in The Rocky Horror Picture Show (UK tour) and Norman in Dreamboats & Petticoats (Playhouse Theatre).

Also in the cast are Debbie Chazen as Anna, Alex Gibson-Giorgio as Sal, Rachel Izen as Rachel, Samuel Jones and Jude Muir as David, Martha Kirby as Bella, Oisin Nolan-Power as Ben and Jeremy Rose as Jack. Completing the cast are Arthur Boan, Angela Caesar, Adam Crossley, Drew Dillon, Matthew Gent and Natasha Karp. 

RAGS The Musical is a heart-warming and powerful musical, which tells the story of Russian immigrant Rebecca, who, with her son David, travels to America in search of a better life. Rebecca must decide what matters more to her – staying true to her roots or adopting a new cultural identity in an attempt to ‘fit in’.

RAGS The Musical is directed by Bronagh Lagan (Little Women, Broken Wings), with musical direction by Joe Bunker, choreography by Philip Michael Thomas, orchestrations by Nick Barstow, set and costume design by Gregor Donnelly, lighting design by Derek Anderson, sound design by James Nicholson, casting by Jane Deitch and children’s casting by Keston and Keston.

Hope Aria Productions will also present, for one night only, The Spark of Creation, a Gala Fundraiser celebrating the work of Stephen Schwartz, at Park Theatre on Sunday 19 January. Some of Stephen Schwartz’s favourite compositions will be performed by artists from previous Aria Entertainment and Hope Mill Theatre productions, and there will be a panel discussion and an audience Q&A with the world-renowned composer and lyricist responsible for many of the world’s most loved musicals, including Wicked, Children of Eden, Pippin and Godspell. All proceeds from the evening will go towards funds needed to stage RAGS The Musical for its limited run at Park Theatre. Tickets are on sale now.

RAGS The Musical at Park Theatre is produced by Katy Lipson for Aria Entertainment and Hope Mill Theatre, in association with Knockhardy Productions, Edward Prophet, People Entertainment Group and Park Theatre and is presented by arrangement with MTI Europe.

LISTINGS INFORMATION

RAGS THE MUSICAL

9 January – 8 February 2020

Press Night: 14 January 2020 7.00pm

Park Theatre

Clifton Terrace

Finsbury Park

London N4 3JP

020 7870 6876*

www.parktheatre.co.uk

*Telephone booking fee: 10% (capped at £2.50 per ticket)

Tickets

from £18.50 (Previews £18.50)

Performances

Mon – Sat 7.30pm, Thurs & Sat 3:00pm

Access performance

Audio Described – Thursday 23 January 7.30pm, Touch Tour 6pm

Running Time

2 hours and 30 minutes

Twitter: @RagsMusicalLDN/@ParkTheatre

GALA FUNDRAISER: THE SPARK OF CREATION

Sunday 19 January 2020

Event: 7.30pm

Tickets: £60 & £65

Tickets on sale now

Award winning singer-songwriter

NICOLA ROBERTS

makes stage debut in

CITY OF ANGELS

Book by Larry Gelbart | Music by Cy Coleman | Lyrics by David Zippel

BRIT Award winning singer Nicola Roberts makes her stage debut in Josie Rourke’s critically acclaimed and Olivier Award winning production of City of Angels.

Nicola, former Girls Aloud member, takes on the role of Avril/Mallory in the West End production joining the already announced Hadley Fraser (Les Misérables, Young Frankenstein), Rosalie Craig (Company), Rebecca Trehearn (Showboat) and Emmy and Grammy Award nominee Vanessa Williams (Ugly Betty, Desperate Housewives), making her West End debut.

Nicola Roberts said:

“I am delighted that Josie and the production have chosen me to be Mallory for City of Angels. To make my acting debut in this show and to work with such a fantastic company of actors and Josie Rourke is a dream come true for me.”

Josie Rourke, Director of City of Angels said:

“It’s exciting to add another dynamite voice, and stellar presence to this revival of City of Angels. Nicola is an exceptional talent, who brings wit and intelligence to the role and the production. Although she’s no stranger to the stage, I’m honoured to be the director for her West-End debut.”

Nicola Roberts is a multi-award-winning singer-songwriter, whose career spans over almost two decades. Nicola’s passion for music and the arts started at a very young age. She enrolled into The Liverpool Institute for Performing Arts (LIPA), where she was a part of numerous shows and singing competitions. Her music career took off in 2002 when she became part of one of the UK’s biggest girl band Girls Aloud. Later down the line Nicola began her solo career as a singer-songwriter, releasing her critically acclaimed debut solo album in 2011, Cinderella Eyes. Since then she has gone on to write for numerous artists worldwide.

Away from her musical career Nicola commits a lot of time to helping charities working with underprivileged children around the UK. She is an ambassador for Barnardo’s Young Supporters Charity and visits the children at their schools and events regularly.

City of Angels will play at the Garrick Theatre for a limited season, with previews from Thursday 5 March 2020, reuniting the production’s entire creative team.

A screenwriter with a movie to finish.

A private eye with a case to crack.

But nothing’s black and white when a dame is involved.

And does anyone stick to the script in this city?

This is Tinseltown. You gotta ask yourself: what’s real…and what’s reel…

Josie Rourke’s “ingenious, stupendous revival” (The Telegraph) premiered in 2014, when it was hailed as “a blissful evening” (The Stage) that’s “smart, seductive and very funny” (Evening Standard). With a swinging score by Cy Coleman, a brilliantly witty book by Larry Gelbart and lyrics by David Zippel, City of Angels is a musical love letter to the glamorous world of old Hollywood and film noir.

City of Angels is produced in the West End by Nica Burns, Ian Osborne, Eilene Davidson, Adam Blanshay Productions.

CHRISTMAS AT THE TURBINE

THE TURBINE THEATRE’S ARTISTIC DIRECTOR

PAUL TAYLOR-MILLS

ANNOUNCES A SERIES OF SPECIAL EVENTS

RUNNING FROM 8 – 22 DECEMBER

It’s beginning to look a lot like Christmas, at The Turbine…

The Christmas season is officially underway at The Turbine. From Sunday 8 December – Sunday 22 December the Battersea Power Station based theatre launches their Christmas At The Turbine. Artistic Director Paul Taylor-Mills, has curated a series of special one-off events with some of the West End’s most talented stars.

These unique events include intimate performances, Q&As and a workshop with: Luke Bayer (Everyone’s Talking About Jamie), Natalie Paris (Six), Samantha Barks (Les Misérables/Pretty Woman), Jodie Steele (Heathers/Rock Of Ages), Sophie Issacs (Heathers/Cruel Intensions), T’Shan Williams (Heathers/The Life), Louise Dearman (Side Show/Wicked), Laura Pitt-Pulford (Side Show/Falsettos) and Tyrone Huntley (Jesus Chris Superstar/Memphis).

Other events include a night with Rumour Mill (the revue and cabaret show), Matthew Shaw (one of the UK’s most celebrated singing teachers), and Carnaval del Barrio (the stars of the London production of In The Heights re-uniting for a one off concert).

Paul Taylor-Mills said, “I’m over the moon that we are marking our first Christmas at the Turbine with a series of special one off events. These events will compliment our main Christmas offering which is the family favourite, The Cat in the Hat. I’m going to be joined by some of the most incredible artists who have informed my career to date and to have them with us at The Turbine for our first Christmas is a real honour.

“We’ve got intimate cabarets with some of the leading names in musical theatre, special one off reunions and even a bit of naughty burlesque! I like to think of it as our very own advent calendar of delights! A bit of something for everyone. Come and have mince pies and mulled wine with us all.”

Christmas At The Turbine will run in conjunction with the theatre’s first family show, Dr Seuss’s much-loved classic, The Cat In The Hat. The production is adapted for the stage by Katie Mitchell, directed by Lillie Collier, and runs from 11 December – 11 January 2020.

CHRISTMAS AT THE TURBINE

LUKE BAYER & NATALIE PARIS SING SONGS FROM THE MOVIES

Sunday 8 December – 8pm

Luke Bayer, star of Everyone’s Talking About Jamie and Natalie Paris, star of Six join forces for a special-one off concert that will showcase some of the best numbers written for the silver screen. The evening promises to be a magical night not to be missed.

RUMOUR MILL: A NIGHT OF BURLESQUE

Thursday 12 December – 8pm

Just like a rumour, everyone is talking about Rumour Mill and we are thrilled to be showing off at the fabulous Turbine Theatre! A spectacular theatrical feast, combining the very best in Burlesque, Boylesque, slick choreographed showgirls and showboys. Rumour Mill is a 5 star show with a 5 star cast. Like nothing you’ve seen before, but you’ll definitely want to see again!

MATTHEW SHAW AND FRIENDS

Friday 13 December – 8pm

Matthew is one of the UK’s most celebrated singing teachers. He shares his approach to singing and will share practical advice on his antidotes and methods. Matthew has worked as a voice coach for various West End performers and also regularly coaches in the pop world. He has worked with artists including Rita Ora, Pixie Lott, Billy Ocean, Frankie Goes to Hollywood, The Saturdays, Pussycat Dolls, Liberty X, Steps and The Wanted. Expect some surprise appearances from some of his favourite clients.

CARNAVAL DEL BARRIO AT CHRISTMAS

Sunday 15 December – 8pm

Stars of the London production of In The Heights re-unite for a special one off concert, which celebrates the musical they made together and their careers since. This promises to be a once in lifetime, not to be missed event.

NIGHT CAP WITH SAMANTHA BARKS

Monday 16 December – 8pm

Star of the Les Misérables film and fresh from her run in Pretty Woman on Broadway, Sam is one of the first lady’s of musical theatre on both sides of the pond. This special Night Cap will see her singing songs from the shows that shaped her whilst sharing stories about her journey to become one of the UK’s most celebrated artists in musical theatre.

JODIE STEELE, SOPHIE ISSACS & T’SHAN WILLIAMS PRESENT THE ULTIMATE HEATHERS WORKSHOP

Thursday 19 December – 10.30am-1.30pm

In a rare one off opportunity the three original UK Heathers are joining forces to lead a practical workshop that will focus on some of their numbers from the multi-award winning show. They will also share their experiences of being involved in the show and how it has informed their careers. This is a practical workshop so please be prepared to move. All abilities welcome. Early booking is advised. 15+. (Please note this workshop will not be at The Turbine. Those that book will be advised on venue once places are booked.)

LOUISE DEARMAN AND LAURA PITT-PULFORD: WE SHARE EVERYTHING

Friday 20 December – 8pm

Two of the first ladies of musical theatre join Paul Taylor-Mills in an intimate one off concert. Laura and Louise first worked together on the award winning production of Side Show. Expect songs from the acclaimed show with some surprises thrown in for good measure.

NIGHT CAP WITH TYRONE HUNTLEY

Sunday 22 December – 7pm

Evening Standard Award winner Tyrone Huntley joins Paul Taylor-Mills in an intimate Night Cap. Expect songs from some of shows that shaped his career and stories about his celebrated career to date.

Theatre Royal, Nottingham – until 5 January 2020

Reviewed by Boo Wakefield

3***

Panto is back in Nottingham – oh yes it is!

This year the Theatre Royal have put on a production of Cinderella. Written by Alan McHugh, it has all the right ingredients for an entertaining night out – spectacular costumes, amazing magic, toe-tapping songs, star-studded cast and local in-jokes for both the young and slightly older!

The two ugly sisters lead the cast played by Les Dennis (Michaela) and Conor McIntyre (Phelina), both from Coronation Street. As they starred last year in panto together, they are at ease playing opposite each other and are a well-timed double act.

Richard Cadell plays an energetic Buttons along with his little friend Sooty. They dominate the play with their slap stick comedy and incredible magic acts and if you are a fan of Sooty you will love it.

Gareth Gates plays Prince Charming and now has 17 years performing experience since his Pop Idol fame. His singing is just as you would expect it to be: beautiful and strong but sadly we don’t hear enough from him in this production. Jack McNeill plays his sidekick Dandini who makes the most of the time he has on stage. Prince Charming’s true love Cinderella is played by Hannah Grace Lawson who is ideal for this role as she is sweet and pretty with a lovey voice. Fairy Godmother Kimberley Blake was a joy to watch, delivering her lines with a touch of humour and her “Fabulous Fairy” song was spectacular with all the dancers dressed as the YMCA. The highlights were the routine for ‘If I Were Not Upon This Stage” which had everyone in fits of laughter and the Two Ugly Sisters, Buttons and Prince Charming timed their slap stick moves to perfection, along with the breath taking carriage and horses taking Cinders to the ball which flew up into the air and over the audience – a spectacular sight.

Overall, this delivers the magic you expect from a panto and the audience loved the water pistols, whoopie cushions, the inevitable screaming of “he’s behind you” and the unpredictable children invited up on to the stage but I was confused as to how sweet Cinderella changed into wrestler during one song and Buttons had to be rescued from a ninja with 6 chainsaws in a magic act. Difficult ones to explain to the children. Yes, there were a few teething problems which were covered up with jokes and laughter but I’m sure these will be ironed out. A sparkly, feel-good production.

FROZEN THE MUSICAL ANNOUNCES

ON SALE PLANS AHEAD OF OCTOBER 2020 OPENING

AT THE NEWLY RESTORED THEATRE ROYAL DRURY LANE

Disney Theatrical Productions today announces public on sale dates for their new production of Frozen in London’s West End. The production will reopen the newly refurbished Theatre Royal Drury Lane, with previews commencing in October 2020. With music and lyrics by Kristen Anderson-Lopez and Robert Lopez, and book by Jennifer Lee, Frozen – directed by Michael Grandage – opens for priority booking late January 2020, with general on sale on 6 March 2020. Groups and schools booking opens on 24 February 2020.

Frozen – produced by Disney Theatrical Productions under the direction of Thomas Schumacher – opened on Broadway in March 2018 and quickly established itself as the biggest musical hit of its season, nominated for the Tony Award® for Best Musical. In addition to the opening in London, the musical recently embarked on a North American tour, and productions will open in Australia and Japan in 2020, and in Hamburg in 2021.

The highest grossing animated film of all time, Frozen was released in cinemas in 2013, winning multiple awards, including two Academy Awards® for Best Animated Feature and Best Original Song (“Let It Go”), the Golden Globe for Best Animated Feature Film and the BAFTA for Best Animated Film. It was written and directed by Jennifer Lee and Chris Buck, withmusic and lyrics by Kristen Anderson-Lopez and Robert Lopez.Currently in cinemas, Frozen 2 had the biggest ever opening for an animated film worldwide and has already made £27.33M at the UK and Ireland box office, with $739M taken globally after just 12 days on release. 

Audiences are invited to learn more about Frozen the Musical, and to sign up for priority booking by 12 January 2020 at FrozenTheMusical.co.uk.

Andrew Lloyd Webber’s Theatre Royal Drury Lane, owned and managed by LW Theatres, is closed until autumn 2020 for a landmark £60 million restoration project and will reopen as Frozen begins previews.

The production features choreography by Rob Ashford,set and costume design by Christopher Oram, lighting design by Neil Austin, sound design by Peter Hylenski,video design by Finn Ross, puppet design by Michael Curry, and musical supervision and arrangements by Stephen Oremus.

Twitter @FrozenLondon

Facebook /FrozenLondon

Instagram @FrozenLondon

New Victoria Theatre, Woking – until 29 November 2019

Reviewed by Antonia Hebbert

4****

George Frideric Handel’s setting for his brilliant 1711 opera is the First Crusade, with Christians fighting Muslims to capture Jerusalem. Nowadays the history of the Crusades feels a lot more complicated than it did in the 1700s, so it’s not surprising that director Robert Carsen has made one or two changes.

This Rinaldo takes place in a dream world that merges Handel’s plot with school life. Rinaldo (Jake Arditti) is a bullied pupil, and the whole opera becomes an escapist journey through his head. There are bicycles, hockey sticks, explosions in the chemistry lab, St Trinian’s inspired girls, blazers and helmets. Rinaldo’s beloved Almirena (Anna Devin) is a schoolgirl, and the sorcerer Queen Armida (Jacquelyn Stucker) is a teacher-turned-dominatrix in Rinaldo’s fevered imagination.

After a slowish start, it becomes sheer fun, and sometimes extremely silly, without detracting from the luscious music. The presence of four countertenors in the small cast adds to the otherworldly feeling. Jake Arditti was sometimes hard to hear over the orchestra at first, but became charming and also very entertaining – we were putty in his hands by the end. Jacquelyn Stucker was fabulously strong, Almirena funny as well as sweet, and Tom Scott-Cowell stood out as an appealingly earnest Eustazio. An audience that had felt uncertain to begin with, went home smiling.

The Glyndebourne Tour is an annual series that shows off rising young stars from Glyndebourne’s ranks of singers, players and conductors. You might still be able to get tickets to the Tour’s production of Verdi’s Rigoletto, at the New Victoria Theatre on Saturday 30 November. It’s directed by Christiane Lutz, with Georgian baritone Nikoloz Lagvilava as Rigoletto and South African soprano Vuvu Mpofu as his daughter, Gilda. Not many laughs are likely here, but it’s said to be beautifully performed.

HOPE MILL THEATRE, MANCHESTER – UNTIL 29 DECEMBER 2019

REVIEWED BY ANGELOS SPANTIDEAS

5*****

Taking inspiration from the English literature Christmas classic A Christmas Carol by Charles Dickens, The Astonishing Times of Timothy Cratchit follow teenage Timothy though his attempt to define his individuality and prove to the world, and most importantly to the himself, that despite his mobility issues he is still capable to achieve his dreams.

Timothy’s curiosity for the world get ignited when visiting the Great Exhibition, which opens his eyes to the beauties of the world and urge him to leave his security and his uncle’s house to venture in the world and prove his worth. Paul Greenwood as Timothy’s uncle Scrooge succeeds in depicting the stress and fear that come along with being a child’s guardian. His explosive character shows the insecurity of letting a young boy with a handicapped leg be exposed to the dangers and the adversities of society, from which he has been sheltered his whole life. Scrooge’s character also does not fail to show the selfishness of parenthood and the dismay of accepting that a parent is not needed anymore, and a once young child is now becoming a man.

Ryan Kopel as Timothy fits the role incredibly, as he manages to illustrate the youthful and innocent nature of adolescence and wins the audience from the very beginning. His character development is obvious with Timothy by the end of the show being a confident young man, who has succeeded into chasing his dreams and has overcome his physical obstacles. His singing resonates with the worries of any young person who makes a leap of faith to find themselves and proves how emotion can be communicated though music.

In Timothy’s life the prevalent female figure Lucy, portrayed by Sammy Graham, shows a strong woman who even though does not seem to have achieved a lot shows real strength and tenacity and is a main figure of support. Lucy appears in Timothy’s life when he moves in his new accommodation and stays as discreet presence till, he eventually succeeds.

The circus group which Timothy eventually joins, becomes a major part of his journey with the group’s leader Grimaldi becoming his mentor and the rest of the group his companions which manage to add excitement and comedy to the musical.

The contribution of the musicians is significant, adding a lot to the experience of this musical. Lastly, the brilliance of Helen Pearson playing the roles of Mrs Linden and Mrs Poole, is apparent from how effortlessly she is able to transform from a sweet and reserved housemaid a the hilarious and explosive landlord.

The small theatre creates an intimate experience with the audience being immersed into Timothy’s world with the cast acting and singing directly in front of them. The set is uncomplicated with quick adjustments and simple prop changes to signal the change of scenes. The double mirrors around the stage create opportunities to play with the lighting and change the character of the set quickly depending on the needs of every scene. With powerful performances and a vibrant cast, The Astonishing Times of Timothy Cratchit creates an entertaining musical filled with laughter which is perfectly complemented by the Christmas atmosphere and the hope that the new year will bring an opportunity for each to find their place in the world, exactly like Timothy.

Curve Theatre, Leicester – until Saturday 11 January 2020

Reviewed by Boo Wakefield

5*****

I admit to being a little apprehensive going to see this new version of West Side Story as it is my mother’s favourite film from when it first came out in 1961 and she accompanied me to see it last night. Would it stand the test of time? Would it live up to her expectations? Or would it spoil her memories?

I had nothing to worry about. The Curve has put on another outstanding musical with the Young Company and the Curve Young Company. Sticking to the original script by Arthur Laurents, the stunning lyrics by Stephen Sonheim and the timeless score by Leonard Berstein, what could be improved? Step up Ellen Kane who has choreographed this production perfectly. There is a continuous flow to each act where the motion and script faultless moves into the dance and singing of each of the iconic songs, something that is often missing in modern musicals. None of the songs were left out, from “I Want To Be In America” sung by Maria (Adriana Ivelisse), Consuela (Abigail Climer) and Rosalia (Mireia Mambo) to “Gee Officer Krupke” performed brilliantly and humorously by the Jets boys. Kane’s choreography retained the original feel of the musical and filled every moment of this action-packed production.

Nikolai Foster should be congratulated for directing his cast through every emotion this story brings – rivalry, drama, passion, romance, jealousy and humour. It feels churlish to single out particular performers to applaud knowing that the whole cast played their part to put on such a polished show but Jamie Muscato (Tony) and Adriana Ivelisse (Maria) are truly convincing as the fatally attracted lovers. Their poignant, almost haunting rendition of “Somewhere” was enough to move you to tears but in contrast their young love is vibrant and uplifting.

Michael Taylor’s extraordinary set design is the icing on the cake using wire mesh cages, a throwback to the film, that the cast move about constantly, and piles of decaying buildings which sets the scene perfectly in run-down New York City in the fifties. His attention to detail from changing the lines of washing to bridal gowns to the impressive three-story set is the perfect backdrop. And even the orchestra, brilliantly and enthusiastically led by George Dyer, are not left out. They appear during the dance at the back of the stage but elevated so that we can all see them, a real treat and so affective.

This musical, still a modern version of Romeo and Juliet, has been brought right up to date with this production yet it still has that edgy feel from the rival gangs and the violence they bring, sadly that is all too relevant to our modern society.

Electrifying dancing, beautiful singing and wonderful acting, if you want to treat yourself to something really special this Christmas, get a ticket for this show! And yes, my mother loved it!

Tristan Bates Theatre – until 14 December 2019

Review by Donna Easton

5*****

If the job of the actor is to stimulate emotional responses from the audience through the portrayal of dramatic events, Ingrid Schiller and Verity Kirk have their artform well and truly licked.

In the intimate setting of the Tristan Bates, the stark set (one bench) and minimal production mattered not. This was character work and storytelling at it’s finest. I was transfixed by Ingrid Schiller’s Laura, an incredibly likeable and relatable central character. She spoke to the audience throughout and her authentic delivery had me completely drawn in to her journey from the outset. From her 9 year old self in South Africa (falling in love with the idea of being an actress when she sees Ursula Andress emerging from the sea in Dr. No), we are with her. She takes us to London growing up in an unfamiliar country and tackles insecurity, eating disorders and being a woman with honesty, integrity and laugh out loud humour.

According to the website, Verity Kirk, plays ‘Other’ and wow did she play ‘Other’ with such deft skill. I lost count of the characters she portrayed, from Laura’s disinterested father to the enchanting ‘pregnant lady’ to a stoned love interested Laura has a moment of passion with (which was definitely a hysterical highlight for my friend and I) and ending with an all too familiar ‘Weinstein’esque movie producer that slapped the smile from my face as I felt helpless for Laura in this vulnerable position. With no costume change and with just the help of a hand-held mic, Verity gave us believable character after believable character that provided the yin to Ingrid’s yang.

Genius direction from Stephen Doolan had the characters interact in a way I had never seen before. I left pondering how they could have created such a level of intimacy between the characters without the actors looking at one another even once? It just worked beautifully. A perfect double act gave us a hilarious and thought-provoking story which didn’t need any bells and whistles. The exposing environment gave the two actors nothing to hide behind but their exceptional talent and we simply didn’t need anything else. Brilliant!

Joseph Rowntree Theatre – until Sat 30 November 2019

Reviewed by Michelle Richardson

3 1/2 ***

Jesus Christ Superstar was one of Andrew Lloyd-Webber and Tim Rice’s first musicals, written in 1970. York Musical Theatre Company, one of York’s many talented am-dram groups, have taken this famous musical on and is currently playing at the cosy Joseph Rowntree Theatre. This is my first outing there, and it is quite an intimate theatre with comfortable seating, I was pleasantly surprised.

The rock opera is a modern, well a 1970’s, take of the last few weeks of Jesus’s life, from Judas’s betrayal to his final crucifixion. It’s a story of joy, paranoia and betrayal. Jesus (John Whitney) is attracting a lot of attention and the people idolise him, but one of his follows Judas (Chris Mooney) is worried about what will happen to them all when the mighty Roman Empire hear about the Jesus effect. He also seems to loathe Mary Magdalene (Marlena Kellie), jealous of the bond she shares with Jesus.

The cast consists of a total of 26 actors, 14 of which are ensemble. Most of the cast are dressed as hippies, depicting the era it is set in, the main exception being Judas, whose dress is almost like a fighter, combat trousers, boots and a bomber jacket. The whole cast seemed to enjoy performing on stage with its catchy tunes and Kellie had a lovely voice, portraying Mary Magdalene’s vulnerable side.

The stand out star of the show was definitely Mooney as Judas. His vocals stood out, the power and emotion in his voice was palatable, he captured Judas’s mood perfectly. I did find there to be a slight issue here, when the band were playing the powerful numbers, all of which seemed to be Judas’s songs, we were hit with a wall of sound, they were just a bit too loud, as good as Moody was, at times it was a struggle to hear him properly. Whitney in the title role of Jesus, also produced a solid performance, and was a suitable counterpart to Judas.

The stage was pretty bare, just scaffolding and ropes being used to full effect throughout the performance, with the crucifix appearing for the final scene. The band were very enthusiastic and on the whole very good, the volume just needed pegging back for a couple of numbers.

It never ceases to amaze me how York is such a wonderful city for amateur dramatics and it is important that they are well supported, in order for this to continue.