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Adam Spiegel and Robert Bartner present

The New Wolsey Theatre, Ipswich and Queen’s Theatre, Hornchurch production of

Full cast announced for Once

as the multi award-winning Broadway and West End musical

embarks on its first UK Tour

Full casting is announced today for Once, which embarks on its first major UK tour from January 2020, following a run at Fairfield Halls, Croydon from Thursday 19 December to Saturday 11 January.

Joining the previously announced Daniel Healy as Guy and Emma Lucia as Girl are Dan Bottomley as Billy, Matthew Burns as Eamon, Ellen Chivers as Reza, Rosalind Ford as Ex-Girlfriend, Lloyd Gorman as Svejc, David Heywood as Emcee, Samuel Martin as Bank Manager, Peter Peverley as Da, Susannah Van Den Berg as Baruska and James William-Pattison as Andrej. The cast also includes Emma Fraser, Seán Keany, Hanna Khogali and Conor McFarlane.

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 Slowly, Once 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.

Following a run at Fairfield Halls, Croydon from Thursday 19 December 2019 – Saturday 11 January 2020, the tour will visit Southend, Liverpool, York, Woking, Milton Keynes, Ipswich, Bath, Coventry, Stoke, Malvern, Aberdeen, Nottingham, Oxford, Brighton, Sheffield, Cardiff, Southampton, Edinburgh, Birmingham, Canterbury, Leicester, Salford, Newcastle, Plymouth, Glasgow and Hull.

Daniel Healy and Emma Lucia return to the roles of ‘Guy’ and ‘Girl’ after receiving critical and audience acclaim in the production’s premiere last year at the New Wolsey Theatre, Ipswich and Queen’s Theatre, Hornchurch. Daniel Healy is a singer-songwriter, musician and actor, who has co-written songs for multi-platinum artist Ronan Keating including the single Breathe, which topped the BBC Radio 2 Playlist. Theatre credits include Backbeat and Once, both in the West End. Emma Lucia made her professional debut as Marilyn and understudying Carole King in the UK Tour of Beautiful, before taking on the role of Girl in Once.

Once is directed by Peter Rowe with set and costume design by Libby Watson, musical supervision by Ben Goddard, choreography by Francesca Jaynes, lighting design by Mark Dymock, sound design by James Cook, projection design by Peter Hazelwood and orchestrations by Martin Lowe. Casting is by Debbie O’Brien.

Based on the cult 2007 Irish indie feature, originally shot on a micro-budget of just $160,000, Once premiered at the New York Theatre Workshop in 2011 before transferring to Broadway in 2012. There it won eight Tony Awards including Best Musical, the Drama Desk Award for Outstanding Musical and the Grammy Award for Best Musical Theater Album. Productions have since opened all over the world, including the West End production in 2013 which received the Olivier Award for Outstanding Achievement in Music.

Once has a Book by award-winning Irish playwright and screenwriter Enda Walsh, and Music & Lyrics by Academy Award winning Glen Hansard and Markéta Irglová who, for Falling Slowly, won the Oscar for Best Original Song. It is based on the motion picture Written and Directed by John Carney. The Original Production Concept is by John Tiffany.

Performed by arrangement with Music Theatre International (Europe) Limited.

www.OnceTheMusicalOnStage.com

Facebook /OnceTheMusicalUK

Twitter @OnceTheMusicalUK

UK TOUR LISTINGS

Thursday 19 December – Saturday 11 January 2020

ASHCROFT THEATRE at FAIRFIELD HALLS, CROYDON

Box Office: www.fairfield.co.uk / 020 3292 0002

Monday 13 – Saturday 18 January 2020

SOUTHEND CLIFFS PAVILION

Box Office: www.southendtheatres.org.uk / 01702 351 135

Monday 20 – Saturday 25 January 2020

LIVERPOOL EMPIRE THEATRE

Box Office: www.atgtickets.com/venues/liverpool-empire / 0844 871 3017

Monday 3 – Saturday 8 February 2020

YORK GRAND OPERA HOUSE

Box Office: www.atgtickets.com/venues/grand-opera-house-york / 0844 871 3024

Monday 10 – Saturday 15 February 2020

WOKING NEW VICTORIA THEATRE

Box Office: www.atgtickets.com/venues/new-victoria-theatre / 0844 871 7645

Monday 17 – Saturday 22 February 2020

MILTON KEYNES THEATRE

Box Office: www.atgtickets.com/venues/milton-keynes-theatre / 0844 871 7652

Monday 24 February – Saturday 1 March 2020

IPSWICH NEW WOLSEY THEATRE

Box Office: www.wolseytheatre.co.uk / 01473 295 900

Monday 2 – Saturday 7 March 2020

BATH THEATRE ROYAL

Box Office: www.theatreroyal.org.uk / 01225 448844

Tuesday 10 – Saturday 14 March 2020

COVENTRY BELGRADE THEATRE

Box Office: www.belgrade.co.uk / 024 7655 3055

Tuesday 17 – Saturday 21 March 2020

STOKE REGENT THEATRE

Box Office: www.atgtickets.com/venues/regent-theatre / 0844 871 7649

Monday 23 – Saturday 28 March 2020

MALVERN FESTIVAL THEATRE

Box Office: www.malvern-theatres.co.uk / 01684 892277

Monday 30 March – Saturday 4 April 2020

ABERDEEN HIS MAJESTY’S THEATRE

Box Office: www.aberdeenperformingarts.com / 01224 641122

Monday 6 – Saturday 11 April 2020

NOTTINGHAM THEATRE ROYAL

Box Office: www.trch.co.uk / 0115 989 5555

Tuesday 14 – Saturday 18 April 2020

OXFORD NEW THEATRE

Box Office: www.atgtickets.com/venues/new-theatre-oxford / 0844 871 3020

Monday 20 – Saturday 25 April 2020

BRIGHTON THEATRE ROYAL

Box Office: www.atgtickets.com/venues/theatre-royal-brighton / 0844 871 7650

Tuesday 5 – Saturday 9 May 2020

SHEFFIELD LYCEUM THEATRE

Box Office: www.sheffieldtheatres.co.uk / 0114 249 6000

Monday 11 – Saturday 16 May 2020

CARDIFF WALES MILLENNIUM CENTRE

Box Office: www.wmc.org.uk / 029 2063 6464

Monday 18 – Saturday 23 May 2020

SOUTHAMPTON MAYFLOWER THEATRE

Box Office: www.mayflower.org.uk / 02380 711811

Tuesday 26 – Saturday 30 May 2020

EDINBURGH PLAYHOUSE

Box Office: www.atgtickets.com/venues/edinburgh-playhouse / 0844 871 3014

Monday 1 – Saturday 6 June 2020

BIRMINGHAM ALEXANDRA THEATRE

Box Office: www.atgtickets.com/venues/alexandra-theatre-birmingham / 0844 871 3011

Monday 8 – Saturday 13 June 2020

CANTERBURY MARLOWE THEATRE

Box Office: www.marlowetheatre.com / 01227 787787

Monday 15 – Saturday 20 June 2020

LEICESTER CURVE

Box Office: www.curveonline.co.uk / 0116 242 3595

Monday 22 – Saturday 27 June 2020

SALFORD THE LOWRY

Box Office: www.thelowry.com / 0343 208 6000

Monday 6 – Saturday 11 July 2020

PLYMOUTH THEATRE ROYAL

Box Office: www.theatreroyal.com / 01752 267222

Monday 13 – Saturday 18 July 2020

GLASGOW KING’S THEATRE

Box Office: www.atgtickets.com/venues/kings-theatre / 0844 871 7648

Monday 20 – Saturday 25 July 2020

HULL NEW THEATRE

Box Office: www.hulltheatres.co.uk / 01482 300 306

The Lowry, Salford – 16 November 2019

Reviewed by Angelos Spantideas

5*****

A spectacular opera with a theme that after all these years from its making is still relevant and important in the midst of another refugee crisis. The fear of the “other people”, the sense of responsibility and the fight against temptation are heavily discussed, with Nicky Spence’s versatile performance as Manolios succeeding at portraying being human with flaws and weaknesses in the pursuit of achieving god-like sensibility.

The controversy of disturbing the public order in attempt to help other people is underlined, with the people in power cling to their positions of power in fear of losing them. Authority, as portrayed by the local governing individuals, such as the local priest Grigoris, Stephen Gadd, is influencing the collective behaviour of everyday people and compromise the freedom of speech and the expression of ideas which conflict their interests.

The performance of John Savournin as the priest who leads the refugees is vital to the play, as he was able to show the desperation of people who have been routed out of their homes and cannot find compassion or support from their fellow Greeks.

Overall a great opera with a message that is conveyed accurately by an amazing cast. The music and singing complement it and engage the audience throughout the duration of the opera with performances that makes the spectator empathise with the actors.

Sonia Friedman Productions
Gavin Kalin Productions, Rupert Gavin, Patrick Gracey/Scott M. Delman, 1001 Nights Productions, Tulchin Bartner Productions
in association with
Len Blavatnik, Eilene Davidson Productions, Louise & Brad Edgerton
present

UNCLE VANYA
By Anton Chekhov

In a new adaptation by Conor McPherson

Directed by Ian Rickson

NEW IMAGE RELEASED FOR 
UNCLE VANYA

Uncle Vanya © Muse Creative Communications, photography by Seamus Ryan.

Sonia Friedman Productions have today released a new show image for Conor McPherson’s (The Weir, Girl from the North Country) new adaptation of Uncle Vanya directed by Ian Rickson (Jerusalem, The Seagull) which begins previews in eight weeks’ time.

Uncle Vanya will run for sixteen weeks at the Harold Pinter Theatre from 14th January 2020 with Opening Night on Thursday 23rd January 2020. Tickets are on sale now.

Toby Jones will star in the title role of Uncle Vanya alongside Richard Armitage as Astrov. Rosalind Eleazar (The Personal History of David Copperfield, Deep Water, The Starry Messenger) will play Yelena, with Aimee Lou Wood (Sex Education, Downstate) as Sonya, the Emmy Award-winning Anna Calder-Marshall (LOVE, Evening at the Talk House, Male of the Species) as Nana, the Olivier and Tony-award nominated Dearbhla Molloy (The Ferryman, Dancing at Lughnasa, Juno and the Paycock) as Grandmaman, Peter Wight (The Birthday Party, Hamlet, The Red Lion) as Telegin and Olivier Award-nominated Ciarán Hinds (Translations, Game of Thrones, Girl from the North Country) as Professor Serebryakov.

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

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

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

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

The Iconic Riverside Studios Returns

After a five-year redevelopment the iconic Riverside Studios have a brand-new building as part of a residential development led by London developers Mount Anvil and A2 Dominion. 

Hammersmith’s historic arts centre with cutting-edge facilities is due to open in three phases, with the doors to the new multi-million-pound building now open to the public for the first time. The opening starts a process of bringing the same spirit back to the contemporary London arts scene, and is expected to re-ignite the same passion and excitement that was at the heart of the original building. 

The new Riverside Studios boasts multiple performance, rehearsal and broadcast spaces which will each contribute to its ongoing story by presenting exhibitions, independent film and theatre from both established and emerging voices. The cultural hub continues a proud tradition that started when it first opened as a film studio in the 1930s, then as one of the original BBC TV Studios in the 1950s, where after it developed a worldwide reputation for presenting innovative art and became a home for some of the leading names in the theatre, television and film industries.

For the first time in its 86-year history, the public will be able to take advantage of its unique position on the Thames beside Hammersmith Bridge, with all the building’s public facilities now enjoying magnificent views of the river. The new public walkway also allows the public to walk beside it from Hammersmith Bridge to Putney.

Opening this week in phase one will be Studio 8 Café and Bar and adjacent coffee shop alongside Sam’s Riverside, a new high-end brasserie by Sam Harrison. It will be shortly followed by the flagship television studio, Studio 1, run by Riverside TV Studios Ltd that will begin producing broadcasts for local and international audiences almost immediately.

Tickets go on sale today for the world premiere of Persona, on 23 January 2020, a unique theatrical adaptation of Ingmar Bergman’s iconic film of the same name, marking phase two and the opening of Studio 3, one of the brand-new theatres to open at Riverside Studios. A psychological thriller, this new translation of Persona is adapted and directed by Paul Schoolman and stars Alice Krige and Nobuhle Ketelo, accompanied by renowned US musician William Close playing his signature Earth Harp with an original score.

Following Persona will be Love, Loss & Chianti (25 February – 16th May) starring Robert Bathurst and Rebecca Johnson, in a two-part evening pairing the critically acclaimed A Scattering with The Song of Lunch by Costa Book Prize award-winner Christopher Reid.  The production is complemented by celebrated cartoonist Charles Peattie’s striking, beautiful and witty animations.  From 18 – 24 May, after her sell-out Tour De Force Liza Pulman Sings Streisand, Studio 3 presents Liza’s brand new show, The Heart Of It. Alongside her band, Liza rediscovers and reimagines timeless classics and lost gems by Randy Newman, Stevie Wonder, Michel Le Grand, Judy Collins and a host of others. An evening designed to both break your heart and make it sing.

Opening in January will also be Riverside’s state of the art cinemas. The centre boasts two screens and visitors will enjoy a world-class digital cinematic experience, with films selected by renowned curator Jason Wood, Artistic Director of Film and Culture at HOME in Manchester and Rachel Hayward, Head of Film at HOME. The film programme will be announced in December, but Wood has promised a broad mix of first-run films, mixed with the best in independent cinema and a range of festivals and seasons that will remain true to the much loved film offering and reputation of the old cinema. 

March 2020 will see the final public areas in the building open, in phase three. Studio 2 is a flexible performance space with up to 500 seats, and Studio 5 is a rehearsal room that can also host community events and workshops. The programme for Studio 2 will be announced soon and will feature work selected and produced by Emily Dobbs who, since her early days working behind the bar at the old Riverside, has gone on to become an acclaimed producer, most recently having presented Revolver in the West End. She will work on a year-long season of theatre at Riverside.

Continuing Riverside Studios’ legacy of presenting and embracing art in all its forms, a new exhibition Riverside@Riverside will open on 21 November and run until January, presented by the Riverside Artists Group celebrating their return to the iconic building.

Apart from having the space to present both intimate and large-scale productions, Riverside’s new building is distinctive in that all the performance areas are digitally enabled and connected to a central control room, making it possible to either record or transmit live work from the building to a global audience while still serving the local community as a valuable public resource, achieving its fundamental ambition of making the arts accessible to all. 

Artistic Director William Burdett-Coutts said today: “To see Riverside Studios reopen its doors to the public is the culmination of a dream. Whilst the old building held an extremely fond place in the hearts of people across the arts, television and film worlds it had all the benefits and problems of a “found space”. Essentially it began life as a Victorian factory and through a number of different incarnations played a part in all these different worlds. Today the new building combines all these interests into a fantastic new public facility which can realise the potential for this incredible site in London. The artists that have passed through the building are legendary and we look forward to welcoming many more in future and making this a place the public feel they can enjoy and cherish.”

LEEDS GRAND THEATRE AND HYDE PARK PICTURE HOUSE CELEBRATE LEEDS’ OWN KAY MELLOR

• BAND OF GOLD TO PREMIERE AT LEEDS GRAND THEATRE
• KAY MELLOR MINI SEASON AT HYDE PARK PICTURE HOUSE

Leeds Grand Theatre and sister venue, Hyde Park Picture House, are celebrating Leeds’ own award-winning writer and director Kay Mellor with the world premiere stage adaptation of BAND OF GOLD at The Grand and a Kay Mellor mini season at The Picture House.

Featuring a star-studded cast, including Laurie Brett (EastEnders), Gaynor Faye (Emmerdale), Kieron Richardson (Hollyoaks) and Shayne Ward (Coronation Street), BAND OF GOLD will run at The Grand from Thursday 28 November to Saturday 14 December 2019. To book tickets visit leedsgrandtheatre.com.

Telling the story of how a young mother is drawn into the notorious red-light district, the stage adaptation is based on the 90’s groundbreaking TV drama of the same name that starred (amongst others) Geraldine James, Cathy Tyson, Barbara Dickson and Samantha Morton.

To run alongside BAND OF GOLD at The Grand, Hyde Park Picture House has invited Kay to reflect on some of the films that have influenced and inspired her and will present three of Kay’s choices in a specially curated mini season in the run up to Christmas. Kay says: “I could watch each one of these films time and time again. They’re absolute classics.” To book tickets visit hydeparkpicturehouse.co.uk/season/kay-mellor-presents.

What: Who’s Afraid of Virgina Woolf?

When: Saturday 23 November

Based on Edward Albee’s iconic play, Who’s Afraid of Virginia Woolf? is an astounding journey into the hell of a marriage at breaking point.

What: Capernaum

When: Sunday 1 December

Nominated for an Oscar for Best Foreign Language film, Capernaum follows the journey of a clever, gutsy 12-year-old, who sues his parents for neglect. Twisting between heart-warming and heart-breaking, Capernaum is a tribute to the resilience of the human spirit.

What: Some Like It Hot

When: Sunday 22 December

Billy Wilder’s zany comedy about two down on their luck jazz musicians on the run from the mob is as funny and sharp as it was 60 years ago. Tony Curtis and Jack Lemmon’s theatrics are matched perfectly by Marilyn Monroe’s flawless timing and on-screen presence.

Since the 1990s Kay Mellor OBE has been a singular creative voice in our city, shifting between screen, stage, TV and film, depending on the story she wants to tell. Best known for TV favourites Fat Friends, Band of Gold, The Syndicate, In The Club, Love, Lies & Records and Girlfriends, Kay is also known for her stage version of A Passionate Woman and Fat Friends The Musical which premiered at Leeds Grand Theatrein November 2017.

The Lowry Theatre, Salford – until Saturday 16 November  2019 

Reviewed by Sarah Cockerill

3***

It’s the year 2011. Beauty vloggers are on the rise and watching a Louis Theroux documentary is perceived as left-field entertainment. Oh, and of course as we all remember, it’s the year of the wedding of the century with reality TV royalty, Kim Kardashian marrying her prince charming, NBA star, Kris Humphries and everyone, including Amanda (Rebecca Mcauley) is glued to their screens watching their relationship unravel before our very eyes.

Amanda is a twenty-something reality TV lover, but her partner, Mike (Jack Herauville) couldn’t care less about who’s who in the Kardashian clan and would far rather enjoy real art. In a bid to find something they can both enjoy together, he suggests that they watch Mozart’s timeless opera, The Marriage of Figaro, instead.

Switching between two screens, a sofa and three complicated relationships, the lines between reality and TV are blurred, and the audience are taken on a rollercoaster ride filled with electronic pop music, a Magic Mike-style dance number, and soprano notes for the duration of the show.

Opera North alumna, Charlotte Trepess, and in-demand concert singer, John Ieuan Jones, outshone the rest of the cast with their vocal range, comedic timing and regal stage presence.

The Marriage of Kim K wraps up at The Lowry Theatre, Salford this Saturday 16^th November but Leo & Hyde’s musical production continues to tour around the country, visiting London, Sheffield and Keswick throughout November.

Stanley & Audrey Burton Theatre – until 16 November 2019

Reviewed By Dawn Smallwood

4****

Ballet Black returns to Leeds to present a triple bill including their world premiere, Ingoma, which is being presented for the first time. This company is reputed for celebrating diversity in ballet and their current programme is a testimony to this.

The programme first presents Martin Lawrance’s Pendulum, prepared in 2009. This short piece features a pas de deux (Marie Astrid Mence and Ebony Thomas) which is proactively interpreted to Steve Reich’s music. This piece explores conflicts of close encounters and the repetitive nature of this composition gives the dancers the impetus to intricately dance in very close synchronisation.

This is followed by Click! This is a colourful and upbeat piece and features five dancers who dance to four pieces of music, arranged by Kenny Inglis. This musical variation is unique with each piece offering different interpretations on basis of the clicking of fingers. Yann Seabra’s staging and costumes are colourful and is supported with David Plater’s spot lighting. The dancers silhouttely interpret the different styles to the variations which affect the dynamism of the piece. From the non serious journey to the serious one, from a collective motion to a duo who movingly and lovingly “click”. It is such an enlightening and colourful piece of work which no doubt sits proudly in the company’s repertoire.

Mostly awaited piece of work and final feature for the evening is Ingoma, meaning song, and is originally inspired by Gerard Sekoto’s paintings, Blue Head and Song of the Pick, and Asisipho Malunga’s poem. Ingoma explores the struggles of the black miners and their families during the 1946 strike in South Africa where 60,000 of them bravely participated in.

This world premiere is co-commissioned with the Barbican and creatively choreographed by Mthuthuzeli November. Ingoma is set to kaldeiscope of ballet, African dancing and song which the dancers poignantly and movingly interpret to. The staging is atmospheric with the obscured glare of the miners’ lamps and is cleverly arranged by Plater and Seabra. The dancers tell the story set to Peter Johnson’s music, November’s input and the company’s singing. The piece consists of collective dancing from the cast and outstanding solos (November, Isabela Coracy and Sayaka Ichikawa) and pas de deux (José Alves and Ichikawa).

Ingoma is such a beautiful though poignant piece of work which has been well received by the appreciative audience. It raises awareness of South Africa’s historic milestone and the courageous stand the miners made to fight for their rights.

Ballet Black continues to be successfully diverse with their work and their current triple bill is no exception with such a moving and down to earth bill of works which are enjoyed and loved by many.

Park Theatre – until 7 December 2019

Reviewed by Claire Roderick

2 ½**

Olivia Olsen’s new play about Anna Akhmatova, the Russian poet who voiced the suffering of the people in Stalin’s Russia is heartfelt but flawed.

Olsen plays fast and loose with timelines and compositing her friendships with male emigres into Isaiah Berlin, instead focussing on Anna’s conflicted feelings and the source of her poetry. With her husband executed and her artistic past questionable and dangerous under Stalin, Anna reluctantly agrees to writing poetry for Stalin and helping him with his speeches, in the hope that he will free her son from the gulag.

The arrival of Berlin, now working for the British government, offers Anna an escape from Leningrad, but she never leaves until ordered to by Stalin during the siege of the city. There is a lot of impassioned declaiming about the city being Anna and Anna the city and chewing over her guilt at helping Stalin for the sake of her son when so many lives are being destroyed, but it all blends into a long, circular argument. Olsen’s portrayal of Anna, staring into the mid distance as she talks about poetry and art, and swaying like a reed in the wind as she recites poetry, is interesting, with Ben Porter’s Berlin presenting a worldlier view of the situation. The scenes with Ian Redford as Stalin come as a relief. I never thought I would be thinking “oh, good, time for Uncle Joe”, but Redford infuses monstrous energy into the proceedings. Ranting and raving, but delivering threats with a deadly calm, Redford handles the bad taste one-liners brilliantly and is worth the price of a ticket. Unfortunately, even these scenes become repetitive, and when Anna reveals her secret oral distribution of her great poem Requiem, the thrill the audience should feel is noticeably absent. Some editing could cut out repetitive moments and hone this into a shorter, sharper and more engaging play that would do the great poet justice.

Blue Elephant Theatre – until 23 November 2019

Reviewed by Claire Roderick

3***

Sixteen-year-old Alice thinks that her life is shit. Her dad is useless and her mum is weird, and she is convinced that she is the stereotypical plain sidekick to her beautiful best friend, Meg. She should be preparing for her GCSEs, but Alice is more concerned with finally doing “it”, as everyone else in the school year brags about their sex lives. Her crush, Jamie, finally shows some interest, and Alice prepares herself for the big moment.

Amy Blakelock’s monologue captures the angst and pressure of teenagers trying to emulate impossible body images and trying to fit in with the inescapable tribe mentality fuelled by social media. The unrealistic, unhealthy aspirations and relationships that the children think they must chase, and the unignorable digital evidence of every embarrassing moment caught and shared online are huge obstacles, and Alice’s story isn’t unusual or ground-breaking, but is depressingly familiar. Blakelock gives Alice a voice that is realistic and isn’t judgmental – Alice’s language veers between matter-of-fact diary entries and flowery descriptions that feel like she is going all out for an A* in her English exam, naivety and fatalism finally growing into acceptance and hope.

Director Hannah de Ville uses Verity Johnson’s set, Dan Saggars lighting and Anna Clock’s sound design brilliantly to build a superb sense of place and mood. The grid pattern of astro turf and stark white tiles on the floor is echoed by a wall of lockers that are lit beautifully, from a dreamy, soporific green at the pond, to a dull grey light in maths lessons.

Robyn Wilson is incredible as Alice, with a wonderfully physical performance that never turns into caricature. In a scene which could have been laughable as Wilson puts herself in various awkward positions as Alice finally loses her virginity, the confusion and disappointment she manages to convey is devastating. Thankfully, the play doesn’t become a quest for justice or vengeance, giving this chapter of Alice’s life a quiet, soulful ending full of calm maturity and hope for the future. A disturbing but touching play, powerfully performed and well worth a look.

Duke of York’s Theatre, London – until Saturday 29 February 2020

Reviewed by Riley Anderson

5*****

Much like Joe (Josh Williams) and Simons (Angus Yellowlees) ascent of the West Face of Siula Grande, this play is epic.

Admittedly, prior to seeing the show, I was sceptical. I couldn’t fathom how a story of this magnitude could be told on stage, but luckily for me my scepticism had well and truly melted away within the first five minutes.

We begin inside the Clachaig Inn, Glen Coe for Joe’s wake. Ti Green’s set is minimal; a juke box, a table, a couple of chairs, that when coupled with Chris Davy’s imposing lighting design, we instantly feel as though we’re at the foot of mountain, having one last drink before reliving Joe and Simon’s Homeric journey. But this is of course Joe’s wake, and it is the words of his frustrated sister Sarah (Fiona Hampton) we hear first, in an aggressive monologue as she struggles to understand Joe’s need to climb.

From the first scene the action begins, with a wonderful movement sequence that utilises every element of the set, up to and including the top of the proscenium arch, as Simon helps Sarah understand the psychology of a climber, and come to terms with her brothers decision to attempt to scale Siula Grande.

The first half of the play is a dynamic, spirited retelling of the ascent. The narrative jumps between Richard (Patrick McNamee) describing the events to Sarah, and Joe and Simon as they climb a huge mountain shaped frame up stage. The storytelling is superb and makes for a pulsating hour or so, I say an hour so, but I have no idea how long I was sat there, the action held the entire auditorium in suspense as sweaty hands gripped the underside of seats in anticipation of Simon severing the rope, the only thing between Joe and certain death.

In contrast, the second half of the play becomes a dreamscape, distilling all of the energy and action of the first half of the play into a study of the mind and body in extremis. But make no mistake, it’s still tantalising theatre, and what David Greig has achieved in this adaptation is remarkable. We are pulled the edge of our seats before being catapulted into the crevasse of our own minds and forced to ask ourselves ‘what would I do?’.

The performances were all excellent, both vocally and physically, but special mention has to go to Patrick McNamee who added a delightful, humorous thread to the piece.