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Sheffield Lyceum – until 2 November 2019

Reviewed by Ian K Johnson

4****

Curtains is one of the more obscure musicals by the great writing team of Kander and Ebb. Not in the same vein as other shows by this duo in the respect the leading character is a man (Lieutenant Frank Cioffi played by Jason Manford), unlike “Cabaret”, “Chicago“, “The Rink” and “Kiss of the Spiderwoman” which all have females in lead roles.

With this show think Robin Hood meets Oklahoma meets Columbo.

A combination of all three makes for a glimpse into the onstage and backstage antics of theatre folk, well until the untalented and unpopular leading lady of this production of Robin Hood gets murdered during the bows.

Enter Lieutenant Cioffi (who just happens to be a musical theatre buff) to find the culprit, solve the murder and improve the stageshow into the bargain.

Jason Manford is a suitable person to play the role, who knew how good a singer/dancer he was? He carries the role off in such a way he blends in with the talented cast like a musical theatre star should.

This production directed by Paul Foster has a very impressive cast including Samuel Holmes as the ever so English director, who delivers some of the sharpest theatrical in jokes with such a sharp tongue I’m just surprised he doesn’t cut himself. Rebecca Lock is a force to be dealt with, she plays Carmen the producer of Robin Hood with such ease and boy what a voice this lady has. Her rendition of ‘It’s a Business‘ is an amazing show of her talent.

The songwriting duo of Robin Hood (Georgia and Aaron) played by Carley Stenson and Ore Oduba play ex lovers who clearly should be together as writing apart is so painful. Aaron sings of his pain/heartache in ‘I Miss the Music‘ he tells us of his difficulties without having Georgia in his life.

It is to be noted that at various venues Andy Coxen will be playing the role of Aaron Fox.

There are many in the ensemble worthy of a mention including Emma Caffrey (Bambi), Lèah West (Niki), Minal Patel (Johnny) and Adam Rhys-Charles (Daryl).

The choreography is bright and bubbly and credit for this is due to Alistair David. With musical arrangement under the supervision of Sarah Travis and the watchful eye of musical director Alex Beetschen. The company all play their part in some fabulous ensemble numbers including ‘Show People‘, ‘The Man is Dead‘ and my favourite ‘He Did It‘.

The sets by David Woodhead are simple but effective and used to good advantage on stage.

There are many songs, dances and changes to Robin Hood until the culprit is found.

Wales Millennium Centre, Cardiff – until 2 November 2019

Reviewed by Rhys Payne

4****

Many people are familiar with the 9 to 5 story because of the film and its association with Dolly Parton, but I personally only know the titular song from the musical and that is why I was very excited to be invited to watch 9 to 5 the Musical at the Wales Millennium Centre. I have discovered that this is a musical that transcends the time it was written in and deals with very important issues that many people still deal with today.

The fantastic thing about this show is that it is both a spectacular, vibrant and fun-filled musical but also a serious, important piece of theatre that is about issues such as female empowerment, the treatment of women in the workplace and the importance of sisterhood/friendship in the modern world which this show managed to blend both these concepts beautifully. The show is crafted to empower women and raise awareness of the dreadful way some women are treated specially in the male-run workplace, this alongside the influence of Dolly Parton’s larger-the-life personality makes this a show that is fun to watch but also leaves an important message in the audience’s mind. This is a musical, based on the film, that focuses on the lives of three women who band together in a protest against their sexist and perverted boss and how they come together and rise to make the office a more welcoming and equal place to live. Individually each of these women faces problems caused by their male boss which causes them to come together and kidnap their boss. The staging for this show was at time bright and colourful with hundreds of computer screen framing the screen to add to the office setting of the show but these are used, at different points in the show, to display colourful panels that light the stage which is a very clever inclusion as it helps to merge the mundane office setting with the vibrant nature of the story. This shows that the design team on this project work very hard to encapsulate the show as a concept which worked beautifully and so the team deserve the highest of praise.

The show opened with the titular song which was an incredible ensemble dance number which helped to establish the nature of the show. What was very interesting about this opening was Dolly Parton appeared in the big clock situated on stage where she sang parts of the song and helped to introduce each character. This concept was used again at the end of the musical to help close the show which helped establish this show as a sort of fable. As this show is about female empowerment and as the main ‘male’ in the show is incredible crude and offensive, this show could be taken as anti-men but as this framing by Dolly Parton helps to establish this as almost a created story she is telling (while it is obviously based on truth) it keeps the focus on the women while showing the boss as almost a caricature of certain men. This inclusion was not only clever but also cool to see due to Dolly Parton’s iconic association with the show and helped to add even more energy to the show. Talking about Dolly Parton, the character called Doralee Rhodes (played by Georgina Castle) was a hilarious tribute to Dolly herself. Apart from the obvious tribute to the iconic country singer, this character also dealt with issues such as gossip and judging people based on appearance. This character sang the song ‘Backwards Barbie’ which was an emotional song about her dreams and how people judge her based on her appearance. This song was very heartfelt, and Georgina performed it so authentically and realistically that it created extreme amounts of sympathy for the character from the audience which shows her acting and singing talent which was used perfectly in this show.

One of the other three main women in this production was Violet Newstead (played by Caroline Sheen) who was higher-up in the office who constantly misses out on promotions in the office purely based on the fact she is a woman. This character had an iconic scene where her, along with the other protesters, smokes weed and is high on top of the office building. This scene was very well acted and was also very hilarious. This character sang the song ‘One of the Boys’ which talks about how she is raising the organisation to become the CEO and how this role was male-run but now times have changed. This song was gloriously over-the-top in a glamorous, jazz style number with an on-stage costume change which was great to see.

Amber Davies, played by Judy Bernly, who was also one of the lead women in this show. This character was left by her husband which leads to her growing in strength and becoming a strong independent woman by the end. She starts this musical being forced to get her first job in an office where she is completely over-her-head with having to adapt to working life but after a while, she grows which causes her to do things, she would never have thought of before. Nothing encapsulates this more than ‘Get Out and Stay Out’ which is the moment she realises she can be strong without having a man. This was an extremely powerful song that was performed flawlessly by Amber and showcased how much of a talented performer she is.

The antagonist of this story was Franklin Hart JNR, who is the boss of the office. This must have been a very difficult role in performing in as this character is not only the antagonist but also is extremely sexist and crude to the female workers in the office. Sean Needham who played this role managed to create a character that was so hateful that it worked perfectly in terms of the show. This was a character who the audience wanted to get what he deserved, and he does just before the interval where he is tied up and suspended from the ceiling of his own house. This led to an incredibly hilarious moment when the interval started by Sean was still suspended just hanging there before the safety curtain fell. Sean managed to play the role so well especially the song ‘Here for you’ which was totally hilarious but also incredibly uncomfortable to watch (on purpose) which had sexualised dancing and jokes which made for a very unusual musical number that was unique but also helped to establish the character as a hate-able ‘sexist pig.’ Sean performed this role excellently and allowed it to do exactly what it needed to for the story to be believable.

My favourite character in this production was Roz who was played by Lucinda Lawrence. This character was the ‘company spy’ who worked with Franklin Hart Jnr to inform him of employee secrets and gossip. She had one of the greatest songs in the entire show called ‘Heart to Hart’ which was a hilarious number where she confessed her love for the boss. This song showcased Lucinda’s flexibility but also had an incredible costume reveal into lingerie which was artfully performed.

Overall, this was an incredible show that was vibrant and fun but also managed to deal with very important issues that are still relevant to today’s society. The show was hilarious and contained a lot of sexualised actions and dialogue which did mean it wasn’t appropriate for a young audience, but also as the show is about office working relationship young audience members probably wouldn’t appreciate the show in general, but for the more mature audience will find this show hilarious but also incredibly moving. I would rate this show 4 out of 5 stars and would encourage everyone to catch this show before it leaves on the 2nd November.

The Lowry, Salford – 29 October 2019

Reviewed by Joseph Everton

4****

The Escape Act: A Holocaust Memoir, created and performed by Israeli artist Stav Meishar, is a retelling of the story of Jewish Acrobat, Irene Danner-Storm. Bringing a Schindler’s List style story to a small stage is an incredible challenge but Meishar, acting alone, uses trapeze, puppetry and song to give an emotional tale a unique, innovative and watchable twist.

Irene Danner-Storm grew up with the circus in her blood. Her mother’s side, the Lorch family, ran a world-renowned circus in Germany for generations. However, the rise of the Nazi party, and antisemitism in Germany and Europe, forced the family out of business. Irene turned to the Althoff circus and owner, Adolf Althoff, for a job. At a time when hiring Jews was illegal, Althoff provided a haven for the young acrobat, hiding her from persecution and, ultimately, death.

Setting puppets and costume aside, Stav Meishar, a third generation Holocaust survivor herself, dons her glasses, addresses the audience and brings a personal feel to the tale by breaking from the narrative to tell the story of her own family during the 1940s. A reminder of the unimaginable human cost of the Holocaust and repercussions felt decades later, Meisher documents her despair at her own flesh and blood having their story snatched away from them.

Although the story of the Holocaust is harrowing and Danner-Storm’s experiences difficult to watch, Meishar manages to add colour, humour and personality to the tale, doing justice to Danner-Storm, her family and the circus folk who shielded her from the Nazis. Last night was the final outing in The Escape Act’s tour of the UK but, when such a brilliant and incredibly important show inevitably returns, it is a must watch.

WE WILL ROCK YOU RETURNS TO LEEDS GRAND THEATRE

The smash hit Queen and Ben Elton musical We Will Rock You returns to Leeds Grand Theatre from Monday 11 to Saturday 23 November 2019.

Following the triumphant 2010 and 2011 UK theatre tours, and 2013’s 10^th anniversary world arena tour, We Will Rock You has been reimagined for 2019. With 24 of Queen’s biggest hits – including We Are The Champions, Radio Ga Ga, I Want To Break Free, Somebody To Love, Killer Queen, Don’t Stop Me Now, Under Pressure, Bohemian Rhapsody, Another One Bites The Dust and, of course, We Will Rock You – and Ben Elton’s hilarious futuristic comedy writing, We Will Rock You is a show that boasts the scale and spectacle that marked the band’s legendary live performances.

The musical tells the story of a group of Bohemians who struggle to restore the free exchange of thought, fashion and live music in a distant future where everyone dresses, thinks and acts the same. Musical instruments and composers are forbidden, and rock music is all but unknown.

Taking on the role of Galileo is Olivier Award nominee Ian McIntosh (Beautiful – The Carole King Musical, The Commitments), he will be joined by Elena Skye (Les Misérables, Kinky Boots) in the role of Scaramouche. Playing Killer Queen is Jenny O’Leary (Heathers The Musical, Rent), with Michael McKell (Macbeth, Blood Brothers)as Buddy, Adam Strong (Jesus Christ Superstar, Rock of Ages) as Khashoggi, David-Michael Johnson (We Will Rock You, Germany, Jesus Christ Superstar) as Brit and Amy Di Bartolomeo (Bat Out of Hell, Priscilla Queen of the Desert) as Oz.

Since 2002 over 15 million theatregoers in 17 countries have been thrilled by We Will Rock You’s awe-inspiring production. Before closing its 12 year run at London’s Dominion Theatre in 2014, the show was performed 4600 times.

We Will Rock You is at Leeds Grand Theatre from Monday 11 to Saturday 23 November

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

The Bunker to close in March 2020 due to proposed site redevelopment

After an incredible tenure, The Bunker is closing its doors. Due to proposed redevelopment of the site, The Bunker will present its final show at 53a Southwark Street on Saturday 28th March 2020, three and a half years after the theatre opened in October 2016.

Launched by founding directors Joshua McTaggart and Joel Fisher, The Bunker Theatre is a converted car park that has provided a safe, supportive and inclusive space for artists. In 2018, Artistic Director Chris Sonnex joined Executive Director David Ralf to lead the theatre.

Over the past three years, The Bunker has seen over 160 productions from single nights to month-long runs. This year 86% of writers and 90% of directors working in the theatre identified as women, and the majority of writers and directors working with the venue identified as being from a background underrepresented on UK stages. The inclusivity seen in The Bunker’s programming extends to its audience. Having welcomed over 40,000 ticketholders through the doors, it has also made over 500 tickets available for free this year through Black Ticket Project and committed since opening to make £10 tickets available at each performance for under-25s which increased to under-30s in 2018. A high percentage of visitors have been first-time theatregoers and from all socio-economic backgrounds, races, genders, religions, disabilities and sexualities.

Programming has included in-house festivals My White Best Friend (and other letters left unsaid) and This Is Black as well as productions We Anchor In Hope and Devil with the Blue Dress. The space has also been the home to productions and collaborations with the likes of Cardboard Citizens, National Youth Theatre, Mountview, Drama Studio London, and ongoing relationships with associate companies Harts Theatre Company, Damsel Productions and Pint-Sized.

The Bunker has supported its artists with dramaturgy, directorial, programming and producing advice, provided a free-to-use writers snug with free WiFi, tea and coffee, provided free sanitary products in their gender neutral toilets, given free space for RnD projects and script readings and offered free drop-in sessions for advice covering topics such as producing, programming, PR and publishing.

The theatre’s final three months of programming will include a month-long run from BAZ Productions as The Process explores a malevolent alternative present swept up in the rise of altright politics, in spoken English and BSL; the final B-Side of Sunday/Monday performances from OPIA collective The Girl with Glitter in her Eye, an explosive collaboration of female and LGBTQIA+ artists, telling the story of a friendship complicated by the revelation of trauma; and a two-month Takeover Season (3rd February – 28th March 2020) of artist-led week-long runs of experiments, events and performances.

Artistic Director Chris Sonnex comments, I’m incredibly proud of what The Bunker has achieved in such a small time and the achievements of the community of artists, producers and theatre professionals who have graced the underground theatre. This is why it is not with sadness that we announce our closure, but with pride. We had much more to do, but redevelopment means that we have to cut short our mission: to make a different kind of theatre, a theatre of inclusivity, transparency and kindness without losing any of our revolutionary soul. This may be the end for The Bunker in London Bridge, but it will be the place that launched careers, that supported people, that solidified crafts and provided incredible shows for audiences, whether you were a seasoned theatregoer/maker or had never made/been to the theatre before. You won’t get to experience The Bunker after early 2020 but I guarantee that you will see the theatrical ripples of what our community of artists, staff and audiences did for years to come.

Executive Director David Ralf says, Over the last three years, The Bunker has been home to all kinds of artistic, producing and operational experiments. Behind the scenes these were matched with our dramaturgical and producing support, our progressive and bespoke deals with producers, our co-productions – all in service of supporting and championing emerging and underrepresented artists. As we approach our final days at 53A Southwark Street, we will continue to champion artists with our Takeover Season, and it is my hope we will find a new space for The Bunker that will further empower and enable artists, and allow us to make further experiments to support them.

Founding Director Joshua McTaggart remarked, When we first received the keys for what is now The Bunker Theatre, along with a 6-month lease scrawled on the back of a flyer, I don’t think we could have quite imagined what the former underground car park at 53a Southwark Street would have become three and a half years later. In such a short amount of time, an incredible team of artists and theatremakers from a range of backgrounds and disciplines rallied together to transform that space into what it is today: a home for creativity, collaboration, risk-taking, and storytelling. I will be forever thankful for the team that worked tirelessly back in 2016 so that we could open those doors in the first place. We founded The Bunker with the idea of doing things differently, and I am privileged to have shared the journey of ripping up and rewriting the rulebook with so many talented individuals over the years. As with the ephemeral nature of everything we put on the stage, something unique is created, and that creative uniqueness must eventually come to an end. The same is true of The Bunker itself, and I will always be grateful that we had the opportunity, the support, and the good-will to create The Bunker.

While no future space has yet been identified, Bunker Theatre Productions CIC is looking to explore options for other spaces where it would continue to support, develop and champion emerging artists.

Hull New Theatre – until 2 November 2019

Reviewed by Catherine McWilliams

5*****

Bill Kenwright’s production of Cabaret is satisfyingly dark, tugging at every emotion.

I first saw Cabaret on stage in the 1970s in Sheffield and have seen various productions since, but this is the one that will stay with me, the production where all the stories are very complete and every part of the jigsaw fits together beautifully, with no cast member overshadowing the story.

Kander and Ebb’s musical is based on a stage play by John Van Druten, which in turn is based on Christopher Isherwood’s novel “Goodbye to Berlin”. It is set in Berlin in 1930-31, this is a Berlin of decadence, where anything goes, where “no-one should have to explain anything”. Three stories interplay, the first is the arrival of the American writer Cliff Bradshaw (Charles Hagerty) and his meeting and subsequent relationship with Sally Bowles (Kara Lily Hayworth); the second is the bittersweet relationship of Fraulein Schneider (Anita Harris) and Herr Schultz (James Paterson), and in the background is the story of Germany itself and the rise of the Nazi party. The Kit Kat Club and its Emcee (John Partridge) provide the decadence and commentary on the changing world of Berlin.

John Partridge is a stunning Emcee, from the outset when he appears in the camera lens to sing “Wilkommen”, he has the audience in the palm of his hands. He is in turns naughty and very dark and gave us the rawest emotion I have seen on stage. His voice is fabulous. This is a very clever performance as he never overshadows the stories, yet is always the centre of the action when he is on stage.

Unlike the film version of Cabaret Sally Bowles is not the central character. Kara Lily Hayworth’s Sally Bowles is vulnerable and needy and also ultimately rather shallow. This is an often understated performance, played with quietness and stillness. Her voice is beautiful and her performance of “Maybe this time” was achingly beautiful.

Charles Hagerty is an excellent Cliff Bradshaw, as he slowly begins to understand what is happening in the Berlin he has come to love and his hopes are dashed. He too has a beautiful voice.

Anita Harris is a wonderful Fraulein Schneider and James Paterson is perfect as Herr Schultz. They interact beautifully on the stage, providing a gentle humour at first and then so much emotion. Their songs were beautifully delivered.

Basienka Blake as Fraulein Kost gave me goosebumps with her reprise of “Tomorrow belongs to me”, a truly shocking moment.

The music is simply stunning, and Phil Cornwell and his band did a superb job. The Band’s interaction with the Emcee at the beginning of the second act was great.

Javier De Frutos’ choreography was outstanding and beautifully performed by the cast, the timing was superb. All the dancing in the Kit Kat Club was fabulous. I was particularly taken by the dancing in the background at the party and the very clever staging of “My Mother“, seen from backstage.

Everything comes together beautifully in this production, music, choreography, set, lighting and an incredible cast telling an enthralling story. This is often raunchy and naughty and not for the easily offended, but it has an important message about tolerance and “live and let live”.

This was like seeing Cabaret for the first time – I have fallen in love with it all over again. Funny, sad, naughty and ultimately thought provoking, this is a fabulous night out at the theatre.

GARETH GATES

TO STAR IN NEW UK TOUR OF FOOTLOOSE

Following two critically acclaimed tours and huge popular demand, Footloose The Musical is back and better than ever!  The musical is set to burst back onto stage in 2020 opening at the New Wimbledon Theatre 24 April 2020 – before an extensive UK tour. With additional casting to follow, it is announced that Gareth Gates will reprise his role as Willard.

Gareth Gates rose to fame through the inaugural series of Pop Idol in 2002, going on to sell over 5 million records worldwide and have hits across the globe. His version of Unchained Melody sold over a million copies in the UK and is the 3rd best-selling single of the Noughties. Gareth is also the youngest ever-male solo artist to debut at number 1. More recently Gareth has enjoyed a successful career on stage, with credits including Les Misérables, Legally Blonde and Joseph and the Amazing Technicolour Dreamcoat. In 2014 Gareth appeared in the final series of Dancing on Ice, and joined boyband 5th Story as part of ITV’s second series of The Big Reunion, touring arenas with bands including Blue and Five.

Gareth says “I’m thrilled to be back playing the role of Willard in the 2020 UK tour of Footloose. I had so much fun the first time around that I jumped at the chance to play such an exciting role again. I was born in 1984, the year ‘Footloose’ the movie was first released; I used to watch the movie lots as a kid not knowing some years later I’d be playing the ‘cowboy that can’t dance’ on stages up and down the country. I’m a terrible dancer, so it’s pretty much Life imitating Art!”

“The show is packed with classic 80s hits – and audiences get to see a little more of me than they bargained for! I can’t wait to be back on tour with such an incredible show”

City boy Ren thinks life is bad enough when he’s forced to move to a rural backwater in America. But his world comes to a standstill when he arrives at Bomont to find dancing and rock music are banned. Taking matters into his own hands, soon Ren has all hell breaking loose and the whole town on its feet. Based on the 1980s screen sensation which took the world by storm, Footloose The Musical sizzles with spirit, fun and the best in UK musical talent. With cutting edge modern choreography, you’ll enjoy classic 80s hits including Holding Out for a Hero, Almost Paradise, Let’s Hear It For The Boy and of course the unforgettable title track Footloose

Footloose The Musical will be presented by Selladoor Productions in association with Runaway Entertainment, and will be directed by Racky Plews, with choreography from Matt Cole, musical supervision by Mark Crossland and design by Sara Perks. 

Everybody cut loose and join Gareth on stage next year for a night of dazzling excitement music and dancing!  Tickets are on sale on 30 October – for full listings visit

https://www.selladoor.com/shows/whats-on/footloose-the-musical-2020/about

Footloose on Social Media

facebook.com/FootlooseTour

twitter.com/FootlooseTour

instagram.com/FootlooseTour

#EverybodyCutLoose

LISTINGS

24 April 2020  New Wimbledon Theatre*

https://www.atgtickets.com/venues/new-wimbledon-theatre/

Telephone Booking : 0844 871 7646

Calls cost 7p per minute, plus your phone company’s access charge.

04 May 2020               Birmingham Alexandra Theatre*

https://www.atgtickets.com/venues/alexandra-theatre-birmingham/

Telephone Booking : 0844 871 3011

Calls cost 7p per minute, plus your phone company’s access charge.

18 May 2020               Queen’s Theatre Barnstaple*

https://www.queenstheatre-barnstaple.com/your-visit/

Box Office:  01271 316 523

25 May 2020               Sunderland Empire

https://www.atgtickets.com/venues/sunderland-empire/

Telephone Booking: 0844 871 3022

Calls cost 7p per minute, plus your phone company’s access charge.

01 June 2020   Llandudno Venue Cymru*

https://venuecymru.co.uk/

Box office: 01492 872000

08 June 2020   Aberdeen His Majesty’s*

https://www.aberdeenperformingarts.com/his-majestys-theatre/

01224 641122

22 June 2020   Brighton Theatre Royal

https://www.atgtickets.com/venues/theatre-royal-brighton/

Telephone Booking : 0844 871 7650

Calls cost 7p per minute, plus your phone company’s access charge.

29 June 2020   Milton Keynes Theatre

https://www.atgtickets.com/venues/milton-keynes-theatre/

Telephone Booking : 0844 871 7652

Calls cost 7p per minute, plus your phone company’s access charge.

06 July 2020    Peterborough New Theatre

Home Page

Box Office: 01733 852 992

13 July 2020    Malvern Theatre

https://www.malvern-theatres.co.uk

BOX OFFICE – 01684 892277

20 July 2020    Blackpool Opera House

www.wgbpl.co.uk

Box Office: 0844 856 1111*

*Calls to 0844s cost 7p per minute plus your phone company’s access charge.

27 July 2020    Edinburgh Playhouse

https://www.atgtickets.com/venues/edinburgh-playhouse/

Telephone Booking: 0844 871 3014

Calls cost 7p per minute, plus your phone company’s access charge.

03 August 2020          Glasgow King’s Theatre*

https://www.atgtickets.com/venues/kings-theatre-glasgow/

Telephone Booking: 0844 871 7648

Calls cost 7p per minute, plus your phone company’s access charge.

With Additional venues TBC

*Please note Gareth Gates will not be performing on 24th and 25th March/ 29th – 6th April / 5th – 9th May / 13th – 17th May / 6th – 12th June / 10^th – 15^th August

Signal Theatre Company in association with Park Theatre present
MARTHA, JOSIE AND THE

CHINESE ELVIS

By Charlotte Jones

11 Dec 2019 – 4 Jan 2020 | Park Theatre

Casting has been confirmed for Charlotte Jones’ (Humble Boy – National Theatre) hilarious and heartfelt comedy, Martha, Josie and the Chinese Elvis at Park Theatre. Winner of the 1998 Pearson Best Play Award, this marks the play’s twenty-first anniversary and first ever London run. The production stars Sioned Jones, Charlie Bence, Kellie Batchelor, Andrew P Stephen, Matt Lim and Jessica Forrest. It is directed by Robert Wolstenholme.

Josie’s tired. Tired of the Bolton winter. Tired of looking after daydreaming daughter Brenda-Marie. Tired of working as a dominatrix to make ends meet. Too tired to celebrate turning forty.

But her favourite client Lionel insists on a birthday party and, knowing Josie’s a huge Elvis fan, invites a very special guest. Just as hips start swinging, somebody no-one expected arrives and skeletons come tumbling out of the closet…  

At its heart this hilarious and heartfelt comedy explores finding a place to fit in. Sweet yet saucy, it’s the perfect ‘adults only’ alternative Christmas treat.  

Sioned Jones plays Martha. She has appeared in 13, Women Beware Women, All’s Well That Ends Well, Oedipus and Never So Good (National Theatre) and in A Woman of No Importance, Shakespeare In Love, Shadowlands, The Letter, Glorious! and Tolstoy (West End). Numerous other theatre credits include an Offie nominated performance in Ghost About the House (King’s Head), Cruella De Vil in the musical of 101 Dalmatians (Wellingborough), Lettice & Lovage (Menier) and Henry VI (Wales Millennium Centre). Television appearances include: Cadfael (ITV), Family Affairs (Channel 5) and The Bill (ITV).

Charlie Bence plays Brenda-Marie, Josie’s daughter who has learning difficulties. Charlie graduated from Mountview in summer 2019. Before that, they appeared in Our Benny (Liverpool Empire), as the Wicked Queen in Snow White (Stiwt Theatre, Wrexham) and in Beauty and the Beast (Chateau Chalain, France).

Kellie Batchelor plays Josie. Kellie is co-founder of Signal Theatre Company for whom she’s played Phyllis in Sellotape Sisters, Jackie in Shang-a-Lang, Sarah in A Place at the Table, Cherry in The Night Before Christmas, Cath in Here and Amanda in Private Lives, all of which she also co-produced. Other theatre includes: Somewhere Over The Westway, Ready, Steady, Date and Octopus Pie (Edinburgh Festival Fringe), Under the Blue Sky and Closer (Soho Theatre Studio), Sexual Perversity in Chicago (Canal Café), The Snow Queen (Chelsea Centre) and Kingdom on Earth (Landor).

Andrew P Stephen plays Lionel. Andrew has appeared in Elling, Life x3, Absurd Person Singular and The Woman in Black (West End). Other theatre includes: The Acedian Pirates (Theatre 503), Foreplay (The King’s Head), Madame Bovary (Hope) and UK tours of Gasping, Life x3, Arsenic & Old Lace, Strangers on a Train, Funny Peculiar, Absurd Person Singular, Duet For One and The Woman in Black. Andrew is also a regular with the Cambridge Shakespeare Festival, appearing in thirteen seasons, playing Hamlet, Macbeth, Iago, Petruchio, Benedick, Puck, Bottom, Shylock, Angelo, Pericles, Leontes, Prospero, Antony and Richard III.

Matt Lim plays Timothy. He recently appeared in the Royal Exchange/Birmingham Rep touring production From Shore to Shore and in Break of Noon (Finborough Theatre). He’s appeared on TV in Doctors (BBC) and 50 Ways to Leave Your Lover (Indigo Films)and in the film A Confusion of Tongues (Grand Independent). Matt is also a comedian and writer, whose first full play It’s Complicated was shortlisted for the Cambridge Footlights’ Harry Porter Prize and enjoyed successful runs in both Edinburgh and London; he also wrote Way Back, a poignant piece about suicide (Pleasance London).

The cast is completed by Jessica Forrest who plays Louise. Jessica made her acting debut playing Leanne Holiday in Hollyoaks (Channel 4), staying for over three years. Other TV includes: The Cruise and Coronation Street (ITV), as well as regular character Clare on the popular children’s show Dani’s Castle (CBBC). In theatre, Jessica recently toured in Chip Shop Chips, an immersive production set in a fish and chip shop. As a fan of the Edinburgh Fringe, she’s also found herself writing and performing as half of the comedy double act Trolley Girls.

Martha, Josie and the Chinese Elvis is directed by Robert Wolstenholme. Robert is co-founder of Signal Theatre Company, for whom he directed Sellotape Sisters (The Warren, Brighton/Tristan Bates), Shang-a-Lang (King’s Head), A Place at the Table (Tristan Bates), The Night Before Christmas (Hen & Chickens/Bike Shed, Exeter), Here (Tristan Bates) and Private Lives (Canal Café) all of which he also produced. Other directing includes: Trying and Tender Soup (New Diorama), Brotherly Love (Counting House, Edinburgh), Gilbert is Dead (Hoxton Hall), One Minute (Courtyard), Guerilla/Whore (Tabard), The Unattended (Gilded Balloon, Edinburgh), Bash (Hen & Chickens), Closer (Landor), Road (Croydon Clocktower), Love & Understanding and Can’t Stand Up For Falling Down (Etcetera), Octopus Pie (Landor & Edinburgh), Dracula (Drayton Court), Mother Tongue (Oval House) and Sleeping Nightie (White Bear); Our Town, Caucasian Chalk Circle, Arabian Nights and How to Disappear Completely and Never be Found (Drama Studio, London) and Can You Keep a Secret? (Croydon Youth Theatre), as well as numerous short plays and rehearsed readings including for/at the Arcola, the Bush, the Finborough, Southwark Playhouse, the Pleasance, Old Vic/New Voices, SOAS and at Soho Theatre for Amnesty International.

www.parktheatre.co.uk

Box office: 020 7870 6876*

JODIE MCNEE AND DANNY LEE WYNTER CAST IN FAUSTUS: THAT DAMNED WOMAN

A Headlong and Lyric Hammersmith Theatre co-production, 
in association with Birmingham Repertory Theatre

Jodie McNee (Venice Preserved, Anatomy of a Suicide) and Danny Lee Wynter (The Maids, Comus) have been cast in Faustus: That Damned Woman, a new play from award-winning playwright and theatre maker Chris Bush (Standing at the Sky’s Edge), directed by Caroline Byrne (All’s Well That Ends Well). Jodie McNee will play the title role of Johanna Faustus with Danny Lee Wynter cast as Mephistopheles. This is the first work to be commissioned as part of Headlong and the Lyric Hammersmith Theatre’s long-term commitment to commissioning and producing work of scale by women playwrights.

Faustus: That Damned Woman will premiere at the Lyric Hammersmith Theatre on 22 January 2020 before playing at Birmingham Repertory Theatre from 26 February 2020. The production will then tour throughout the Spring visiting Bristol Old Vic, Leeds Playhouse and Northern Stage from March to April 2020.

Drawing on the works of Marlowe, Goethe, and other versions of the Faustus myth, Chris’ urgent reimagining asks what we must sacrifice to achieve greatness and the legacy that we leave behind.

“My name is Johanna Faustus. I was born almost four hundred years ago.
I gave my soul to achieve the impossible.
I watched this city grow sick and I swore to heal it.
I might be damned, but I would save the world to spite the Devil.”

Caroline Byrne directs this radical new work in which the iconic character of Faustus is reimagined as a woman who makes the ultimate sacrifice to traverse centuries and alter the course of history. The creative team include set designer Ana Inés Jabares-Pita, costume designer Line Bech, lighting designer Richard Howell, sound and composition designer Giles Thomas, video and projection designer Ian William Galloway, Movement Director Shelley Maxwell and casting director Annelie Powell CDG. Further casting will be announced shortly.

Jodie McNee is a critically acclaimed actress known for her work on stage and screen. Her extensive theatre credits include Venice Preserved (RSC), Anatomy Of A Suicide (Royal Court Theatre), The Night Watch, Hamlet, Orpheus Descending, A Taste of Honey (Royal Exchange, Manchester); An Oak Tree, Our Country’s Good, Three Winters (National Theatre); Game (Almeida); A Life of Galileo, Written on the Heart, Measure for Measure (RSC); Hobson’s Choice (Regent’s Park Open Air); Canary, When We Are Married, Twelfth Night (Liverpool Everyman Playhouse); The Empty Quarter (Hampstead Theatre); When We are Married (West End); The Frontline, King Lear (Shakespeare’s Globe); Seagull, Knives in Hens, Double Portrait, Jenufer (Arcola) Cymbeline, The Changeling (Barbican/ International tour); Mother Courage, This Happy Breed (ETT) and The Burial at Thebes (Playhouse, Nottingham).  

Jodie’s television credits include Britannia series 1 & 2, Vera, Little Boy Blue, Ripper Street, Criminal Justice, Poirot and The Liverpool Nativity. Her film credits include Judy, Official Secrets, Film Stars Don’t Die in Liverpool and The Physician, whilst her radio credits include Zola: Blood Season and With Great Pleasure.

Danny Lee Wynter is an actor known for his work across stage and screen. He is the founder of the campaign and charity Act For Change. Danny’s theatre credits include The Maids (HOME, Manchester), Cell Mates (Hampstead Theatre), Forty Years On (Chichester Festival Theatre), Deathwatch (The Print Room), The Glass Menagerie (Nuffield Southampton), Much Ado About Nothing (Old Vic), St John’s Night (Jermyn Street Theatre), The Miser (Manchester Royal Exchange),  The Changing Room (Royal Court Theatre), Comus, Bedlam, Henry IV Part II, Henry IV Part 1, King Lear, The Frontline (Shakespeare’s Globe).

Danny’s TV and film credits include the lead in Stephen Polaikoff’s Joe’s Palace & Capturing Mary, Luther, Hot Fuzz, Walliams and Friend, The Dreams of Bethany Mellmoth, Partners in Crime, Holby City, Mr Stink, Episodes, Beat Girl, Trial and Retribution and the forthcoming film Censor.

THE MORMONS ARE COMING TO CARDIFF!

PUBLIC BOOKING OPENS ON WEDNESDAY 6 NOVEMBER 2019

“The best musical of this century.”

Ben Brantley, The New York Times

The Book of Mormon, Broadway’s smash-hitmusical written by Trey Parker, Matt Stone and Robert Lopez, is coming to the Wales Millennium Centre, Cardiff next year from Tuesday 3 November 2020.

Public booking  for the Tony®, Olivier® and Grammy® award-winning show will open at 10am on Wednesday 6 November 2019 at www.wmc.org.uk and www.thebookofmormonmusical.com, and at the Wales Millennium Centre box office.

Trey Parker and Matt Stone are the creators of the Emmy and Peabody award-winning television show, South Park, now in its twenty second season, and the feature films South Park: Bigger, Longer & Uncut and Team America: World Police.

Robert Lopez co-created the Broadway musical Avenue Q and co-wrote the songs for Disney’s Frozen and Coco. He is one of only fifteen artists to win all four major entertainment awards – Emmy®, Grammy®, Oscar® and Tony® Awards.   

The Book of Mormon follows a pair of Mormon boys sent on a mission to a place that’s a long way from their home in Salt Lake City.

Since making its world premiere in March 2011 at New York’s Eugene O’Neill Theatre, where it won nine Tony® Awards, including Best Musical, The Book of Mormon has been performed on three continents and won over thirty international awards. The musical has smashed long-standing box office records in New York, London, Melbourne, Sydney and cities across the U.S.

The London production opened in February 2013, winning four Olivier Awards® including Best New Musical, and breaking the record for the highest single day of sales in West End history. It has sold out every one of its 2783 performances to date at the Prince of Wales Theatre.

Book, Music and Lyrics are by Trey Parker, Robert Lopez and Matt Stone.  Directed by Casey Nicholaw and Trey Parker, The Book of Mormon has choreography by Casey Nicholaw, set design by Scott Pask, costume design by Ann Roth, lighting design by Brian MacDevitt, sound design by Brian Ronan, orchestrations by Larry Hochman and Stephen Oremus and music supervision and vocal arrangements by Stephen Oremus.

The Book of Mormon is produced by Anne Garefino, Scott Rudin, Important Musicals and Sonia Friedman Productions.