Rocky Horror Show Review

Edinburgh Playhouse – until 2 November 2019

Reviewed by Manetta McIntosh

5*****

Feeling Dirty in a Good Way

Call the fire brigade, Duncan James (Frank N Furter) has set the Theatre on fire, what a way to warm the cockles on a cold Autumn night. For anyone who did not know that Richard O’Brien’s Rocky Horror Show was in Edinburgh this week, we do not usually have as many burly men walking so openly in stockings and suspenders.

This delightful anti-panto tells the story of a clean-cut couple called Brad (James Darch) and Janet (Joanne Clifton) who are travelling back from a wedding when their car breaks down, through the darkness they see a light – where? I hear you cry – ‘Over at the Frankenstein Place‘. They are greeted by the creepy butler Riff Raff (Kristian Lavercombe) and his sister Magenta (Laura Harrison) and just want the use of a phone and to dry off, but they get sooooooo much more than they bargained for. Brad and Janet soon have their relationship tested by the sassy, saucy, sensual inhabitants led by Frank N Furter. Duncan James does a superb job in the role made famous by Tim Curry, his muscular physique looks amazing in a basque, did I mention he is a sweet transvestite scientist? Joanne Clifton and James Darch are delightfully innocent…until they aren’t!! Their vocals were on point as was their comic timing, there were a couple of clever dance moves in there which is not surprising as some people might know Joanne from Strictly Come Dancing.

The show is narrated by Phillip Franks, who delivers some excellent pauses in the script allowing the audience to punctuate with innuendo in the form of heckling. This is a ‘thing’ so don’t get offended if it’s you are a RHS virgin, Phillip has some very clever retorts at the ready. If you are easily offended, then perhaps this is not the show for you, the audience do not hold any punches.

Frank, unable to satiate his sexual appetite, decides to make himself a man…in only 7 days…enter Rocky (an opportunity for audience heckling if ever I saw one) played by Callum Evans. He is a perfect specimen, fully ripped beach body but a little naive – well he technically is only a day old. He performs a couple of gymnastic moves that will have you mourning the core muscle strength you never had. What follows is a concentrated series of relationship tests; infidelity, jealousy, envy which results in some hilarious comic moments but eventually Frank goes too far. Riff Raff and Magenta appear as…well I won’t spoil it if you haven’t seen it, but it does not end well for most. Brad and Janet weigh up their options and still ride off into the sunset, or sunrise, it felt like I’d entered a Time Warp again!!!

Performances which cannot go by unmentioned; Columbia (Miracle Chance) who may not have had a large part, but she made every moment count. Her exit was like someone blowing up a balloon and then letting go before they could tie it off. Eddie (Ross Chisari) had us dancing in the aisles with Hot Patootie Bless My Soul and may have eventually lost his head but he doubled up as Dr Scott so was still able to make an impact. The supporting Phantoms and the Usherette should be mentioned as well as it would not have worked so well without them. From set and costume design to the amazing direction, this show is timeless and 40+ years later it is still filling theatres.

Anyone who may have been feeling too self-conscious to dance through the performances made up for it during the encore. Time Warp and Sweet Transvestite had everyone up on their feet, although they never sat down following the standing ovation for this incredible performance. It was hot, hot, hot and I would happily watch every performance.

Blood Brothers Review

Grand Opera House, York until 2 November 2019

Reviewed by Michelle Richardson

4****

Written by Willy Russell, Blood Brothers is the tragic tale of twins, separated at birth, who then grow up on different sides of the tracks, only to come back together with disastrous consequences. Mrs Johnstone is left abandoned with 7 kids by her deadbeat husband, to find out that she has twins on the way. She loves her children, but cannot support them, until she starts work as a cleaner for Mrs Lyons, who comes up with suggestion of raising one of the twins as her own. What follows is a story about jealousy and paranoia, which leads to devastating consequences.

We follow Mickey, Alexander Patmore and Eddie, Joel Benedict, through the years. Not bought up together they still seem to be drawn to each other, that invisible bond that only twins have. Not knowing they are related, they become Blood Brothers, which only results in heartache. Patmore is so thoroughly convincing as the 7 year old, but nearly 8, Mickey. We see him grow up, where you can believe that all is ok in the world, before he makes a stupid mistake that results despair and tragedy. Benedict as the posh Eddie, in awe of his super cool best friend Mikey, who is the complete opposite and the perfect foil for Mickey. Throughout their time together on stage you couldn’t help yourself either laughing or crying, through the brilliant comedy and the emotional rollercoaster that their relationship took us on.

Lyn Paul, voted the definitive Mrs Johnstone and after 20 odd years playing the part on and off, is completing her final tour. At the age of 70 she may be too old to portray the role, but she certainly packs a punch and still delivers a strong powerful performance. The emotion she portrays is outstanding, and you can really feel the torment in every note she sings.

One of the most important characters on stage is the Narrator, who is virtually always on stage. Robbie Scotcher delivers a strong performance guiding us through the tale with just the right amount of vigour and devilish darkness. The entire cast are quite excellent in their storytelling, often playing various characters throughout. Tim Churchill morphing into the doctor from the milkman, provided us the audience with great merriment.

Blood Brothers is such a moving musical, emotionally gripping. We laughed, we cried and we jumped in our seats, more than once, a real rollercoaster of a story. It was good to see a full theatre on a cold Monday evening and it thoroughly deserved the standing ovation that it received. A must see for all.

The Girl on the Train Review

New Victoria Theatre, Woking – until 2 November 2019

Reviewed by Becky Doyle

3***

I had been so looking forward to watching this play, an adaptation of a film that I thoroughly enjoyed and one that had me on the edge of my seat. This show was unfortunately the complete opposite of what I was expecting. I wasn’t captivated by the story nor was I blown away by the suspense or action.

Maybe if I had not seen the film then this review would be different. One positive I can present was that of the acting of Samantha Womack who played the drink loving Rachel Watson, she played the candidate well and with a believable presence, remaining in character throughout as a drunk scorned ex wife.

It is appreciated that the stage was used well for the multiple locations and that of being on the train I thought was particularly clever moving swiftly between each scene and each location with the whole space being utilised and it appeared that it didn’t matter in which part of the audience you sat you would be able to see the full stage.

After being convinced to return for the second half, the story moved quickly and I felt that again, if I hadn’t seen the film or read the book I wouldn’t understand how we got to the conclusion that we had. How did Rachel suddenly realise that Tom had been with Megan? Other than Scott advising that Megan had stopped working as the babysitter? Finally, the final scene that saw the demise of Tom was much less dramatic than again I was hoping for. We had witnessed the empowerment of Rachel and to an extent Anna yet it was completed very quickly and without much focus.

Overall, would I recommend this show? Not to anyone who has read the book or watched the film. Though I can imagine that if this hadn’t been the case it would have been a little more thrilling and enjoyable, but even that I’m not sure of.

Northern Ballet Dracula Review

Leeds Playhouse – until 2 November 2019

Reviewed By Dawn Smallwood

5*****

The newly refurbished Leeds Playhouse receives Northern Ballet’s Dracula and is the first production to be hosted in the revamped Quarry Theatre. Dracula is the company’s revival since this production first premiered four years ago at the very same venue.

Many know Dracula; a dark Gothic vampire classic with the per se themes and connections and many adaptations, film and stage, have been created, aired and staged. David Nixon, the artistic director, commits to focussing on two key themes, humanity and love which forgoes the definitive and prescriptive conventions around good and evil, dark and light and right and wrong. This thorough focus doesn’t however compromise the well known consensus and spirit of the story.

Northern Ballet takes pride in refreshing every revival since its first ever production and this one sees a change to the opening scenes, its new costumes and also the new staging is bolder and more contrasting. Opportunities are given for each artist/dancer to uniquely interpret and portray their given roles in each performance which certainly adds dimension, dynamics and ownership to this production.

Set to Alfred Schnittke’s wonderful musical score with additional pieces from Arvo Pärt, Sergei Rachmaninov and Michael Daugherty; this production comes alive with drama and projection from the cast with choreographic and co-ordinated integrated movement and dance. Ali Allen’s dark and stunning stage sets, combined with Tim Mitchell’s sombre but ingenious lighting and Nixon’s costumes, compliments the performance of dancing and storytelling.

The most memorable scene must be the seductive draw and love between Dracula (Javier Torres) and Mina (Abigail Prudames). They perform beautifully, intimately, collectively in slow mirrored sequences to Pärt’s Spiegel im Spiegel. The musical composition connects both characters longingly and lovingly to universal boundaries which are neither conditional nor conventional.

Under the direction of Nixon, the cast has successfully delivered with Torres and Prudames leading the way and support from Antoinette Brooks-Daw and Lorenzo Trossello as Lucy and Jonathan respectively. Dracula has a total focus from beginning to end. It has everything from intricate dancing, dramatic storytelling, emotional expression and ecstatic entertainment.

This production offers more than just a story or dancing with a universal need of love and humanity. It is encouraging to see that more and more people are able to access Dracula this season as it is scheduled to be screened live in cinemas nationwide this Halloween.

God of Carnage announced to return for a UK tour in 2020 starring Elizabeth McGovern, Nigel Lindsay, Samantha Spiro and Simon Paisley Day

Theatre Royal Bath Productions presents
GOD OF CARNAGE
by Yasmina Reza
Directed by Lindsay Posner

  • 10TH ANNIVERSARY HIT PRODUCTION OF YASMINA REZA’S AWARD-WINNING FARCE GOD OF CARNAGE TO RETURN FOR 2020 UK TOUR, DIRECTED BY LINDSAY POSNER
     
  • DOWNTON ABBEY’S ELIZABETH MCGOVERN AND OLIVIER AWARD NOMINATED NIGEL LINDSAY WILL REPRISE STAR ROLES WITH SAMANTHA SPIRO AND SIMON PAISLEY DAY JOINING THE CAST
     
  • THE TOUR WILL OPEN IN GUILDFORD ON 14 JANUARY AND VISIT BATH, GLASGOW, CAMBRIDGE AND KINGSTON THROUGH TO 15 FEBRUARY 2020

Following an acclaimed run as part of its Summer Season 2018, Theatre Royal Bath Productions is delighted to announced the return of its hit comedy production of Yasmina Reza’s God of Carnage for a UK tour starting in January 2020. Elizabeth McGovern, fresh from starring in the celebrated Downton Abbey film, reprises her dazzling performance as Veronica with Nigel Lindsay back as her bluff husband Michael. Directed by Lindsay Posner, the production welcomes two-time Olivier Award-winning actress Samantha Spiro who will play Annette and Simon Paisley Day, recently seen in Ralegh: The Treason Trial at the Sam Wanamaker Playhouse, in the role of husband, Alan.

God of Carnage will run at Guildford’s Yvonne Arnaud Theatre (14 – 18 January 2020), Theatre Royal Bath (20 – 25 January), Theatre Royal Glasgow (27 January – 1 February), Cambridge Arts Theatre (3 – 8 February) and Rose Theatre Kingston (10 – 15 February).

When 11-year-old Ferdinand hits 11-year-old Bruno with a stick in a playground punch-up and knocks out two of his teeth, the combatants’ enlightened parents decide to meet to talk things over civilly. But once the niceties are done with and the drink starts flowing, it is the parents who turn into spoiled brats.

God of Carnage is a ruthlessly comic study of middle-class parenting. Originally written in French, the play was translated by Christopher Hampton in 2008. The production went on to win the Olivier Award for Best New Comedy and the Tony Award for Best New Play.

Elizabeth McGovern/Veronica

Elizabeth McGovern is well known for her Emmy Award and Golden Globe Award nominated role as Cora Crawley, Countess of Grantham in Downton Abbey. She has also played Evelyn Nesbit in Ragtime for which she received an Academy Award nomination. Her theatre credits include Broadway productions of Time and the ConwaysHamlet and Love Letters. Other film and television credits include Ordinary People, Once Upon a Time in AmericaThe Handmaid’s Tale and The Wings of the Dove.

Nigel Lindsay/Michael

Nigel Lindsay is an Olivier Award nominated actor. His numerous television credits include the ITV series VictoriaSpooks, White Gold and The Capture. For film he has appeared in Alan Partridge: Alpha Papa and Four Lions, for which he was nominated for Best British Comedy Performance in Film at the British Comedy Awards. His many stage credits include the title role in Shrek the Musical for which he was nominated for the Olivier Award for Best Actor in a Musical, Guys and Dolls (West End), Harrogate (Royal Court), A Small Family Business (National Theatre), Broken Glass (Tricycle Theatre) and Awake and Sing (Almeida).

Samantha Spiro is a two-time Oliver Award-winning actress. Her numerous television credits include her British Comedy Award-winning role in Grandma’s House, Game of Thrones and Cold Feet. She recently appeared on stage in Lady Windermere’s Fan (West End). Previous credits include Guys and Dolls (West End), Macbeth and The Taming of the Shrew (Shakespeare’s Globe), her Olivier Award winning title role in Hello, Dolly! and Mary Flynn in Merrily We Roll Along which also saw her receive the Olivier Award for Best Actress in a Musical.

Simon Paisley Day’s recent screen credits include Star Wars: The Rise of Skywalker, Born A King, The Crown, Brexit: The Uncivil War and Victoria & Abdul. He previously appeared at Bath in Richard Eyre’s Private Lives. Further stage credits include Twelfth Night (National Theatre), The Lorax (Old Vic), West End productions of Anything Goes, The Philanthropist, The 39 Steps and Private Lives, the title role in Timon of Athens (Shakespeare’s Globe), The Low Road and The Ugly One (Royal Court).

Yasmina Reza has written numerous plays including Olivier and Tony Award winning God of Carnage, ArtThe Unexpected Man and The Passage of Winter.  She has also written novels Hammerklavier, Desolation, Adam Haberberg, Happy are The Happy and Babylone and the screenplay for Carnage.

Lindsay Posner’s career includes positions as Associate Director of Royal Court Theatre, Artistic Director of Royal Court Theatre Upstairs and Deputy Director for main house.  Additional credits include Olivier nominated productions of A View from the Bridge (Duke of York’s Theatre) and Carousel (Churchill Theatre, UK Tour and Savoy Theatre) as well as The Lie (Menier Chocolate Factory), The Truth (Menier Chocolate Factory, Wyndham’s), Hayfever (Theatre Royal Bath/West End) and The Winslow Boy (Roundabout Theatre, New York; Old Vic Theatre). Television credits include Two Oranges and a Mango and The Maitlands.

The 10th anniversary production of God of Carnage was staged last year in Artistic Director Jonathan Church’s 2018 Summer Season at Theatre Royal Bath. It will mark the third revival from the season following the critically acclaimed West End transfer of The Price at the Wyndham’s Theatre and Switzerland at the Ambassadors Theatre. The 2019 Summer Season has also proved hugely successful and will soon see the return of Blithe Spirit starring Jennifer Saunders in a UK tour from 22 January 2020 and a strictly limited West End run at the Duke of York’s Theatre from 5 March – 11 April 2020.

Listings

Theatre Royal Bath Productions presents
God of Carnage
By Yasmina Reza
Translated by Christopher Hampton
Directed by Lindsay Posner
Designed by Peter McKintosh

Tuesday 14 January – Saturday 18 January 2020
Yvonne Arnaud Theatre, Guildford
Millbrook, Guildford, Surrey GU1 3UX
Box Office: 01483 440 000
www.yvonne-arnaud.co.uk

Monday 20 – Saturday 25 January 2020
Theatre Royal Bath
Sawclose, Bath BA1 1ET
Box Office: 01225 448 844                
www.theatreroyal.org.uk

Monday 27 January – Saturday 1 February 2020
Theatre Royal Glasgow
282 Hope Street, Glasgow, G2 3QA
Box Office: 08448 717 647
www.atgtickets.com/venues/theatre-royal-glasgow/

Monday 3 – Saturday 8 February 2020
Cambridge Arts Theatre 
6 St Edward’s Passage, Cambridge CB2 3PJ
Box Office: 01223 503 333
www.cambridgeartstheatre.com 

Monday  10 – Saturday 15 February 2020
Rose Theatre, Kingston 
24-26 High St, Kingston upon Thames KT1 1HL
Box Office: 02081 740 090
www.rosetheatrekingston.org/

Prism’ Review

King’s Theatre, Edinburgh – until 2 November 2019

Reviewed by James Knight

5*****

For many people, the intricacies of the technical specifications required in cinema remain a mystery, which is why the opening of Prism, a snapshot of the life of one of Hollywood’s most prolific cinematographers, opens with a quick lesson in film ratios using a mechanised garage door.

It’s a simple technique, framing only the actors’ legs, and instantly introduces us to how important a viewpoint is in film – we see what the director wants us to see, and how the cinematographer wants us to view it.

Perception in an obvious, and vital theme in Prism. Robert Lindsay plays Jack Cardiff, the cinematographer famous for Black Narcissus, The Red Shoes and The African Queen. Cardiff is in the early throes of dementia, and his son, Mason (Oliver Hembrough) wants him to complete his autobiography – a difficult challenge considering Jack doesn’t know whether he’s in the pub or in the garage. Lucy (Victoria Blunt) has been hired to help care for him and maybe, just maybe help him finish his writing. Watching over this with justified apprehension is Jack’s wife, Nicola (Tara Fitzgerald), whom Jack now longer recognises, instead seeing his old flame Katie, that is, Katherine Hepburn.

Lindsay gives a truly stunning performance as Jack, effortlessly capturing the impish glee and gruff stubbornness of a man who has lived quite a life. Although Jack may not see the world as we do anymore, it is quite clear that his life still makes some sense to him. Blunt is also a charismatic presence, multi-roling as Lucy and then in the second act as Lauren Bacall and Marilyn Monroe.

The second act employs a wonderful framing device. As the curtains close on Act One, and the back wall of garage opens to reveal the Congo river, Act Two shows us Jack in his prime, chatting with Humphrey Bogart, Katherine Hepburn and Lauren ‘Betty’ Bacall. But then, in the second scene, we see a scene from the first half, of Jack photographing Lucy, from his point of view. Now Lucy is Marilyn, and Mason is Arthur Miller… it’s a moment that could so easily be cliched or insensitive, but the deftness of Terry Johnson’s writing, coupled with the calibre of talent onstage, makes for a beautiful moment of connection.

It’s the little touches like this that truly elevate the play: photos Jack has taken of Hollywood stars morph to illustrate how a Technicolor camera works, for example. Great care has been taken to depict a man with respect as dementia claims his mind, as it should, even as the programme states that artistic license and liberties have been taken.

Prism is a sensitive, moving piece on life and art and how the two complement each other, how each can heighten the other.  

‘A real life does not boast a satisfying story arc. We are doomed to live the events of our lives in the wrong damn order; it’s like shooting a film, not watching one…The time of our lives is not the finished masterpiece; it’s just whatever we got in the can today.’

A Taste of Honey Review

Theatre Royal Bath – until 2 November 2019

Reviewed by Nicky Wyatt

3***

A really clever set design, instantly transports you back in time to the 1950’s. The initial slum like set depicts the tenements of the time in Salford. It’s dingy , grimy and next door to the abattoir. It is the place that is the new home of Helen (Jody Prenger) and errant teenager daughter Jo (Gemma Dobson).

These two have an odd relationship neither show each other love, they both seem to harbour bitterness and angst to each other. Helen has never enjoyed being a mum, left with a baby at a young age to fend for them both in any way she could.

While Jo is pretty much bringing herself up and resents her life and mums choices. They have an incredible amount of dialogue between them which deserves praise for remembering it all. I did at times find it difficult to catch as it is very fast and slightly monotone in it’s delivery.

Throughout the performance we are blessed with some fabulous Jazz musicians, they really set the tone and mood, at times the cast break into a tune with them.

Things take a turn when Helen is pursued by car salesman Peter (Tom Varey). He has fallen for the older woman and she has fallen for his money. As he woos her with flowers and chocolates, daughter Jo who is feeling more alone meets sailor Jimmie (Durone Stokes). She is lonely and vulnerable and he is a man of the world who happens to have the most amazing voice, when he sings it’s as smooth as honey, she is very taken with him. He makes such a fuss of her and she revels in his attentions. When a swing seat appears from the rafters she jumps on , he pushes her it is a very sweet moment and just one of many smooth set
changes. With Helen rushing off to marry Peter a poorly Jo is looked after by Jimmie, he has already proposed and made huge promises to her, following her mothers lead she takes him to bed because that’s what you do when someone shows you attention . Soon after Jimmie goes back to sea leaving a lonely Jo pregnant and alone.

She tries to hide it and works two jobs almost unheard of in those times. Her best friend Geoffrey(Stuart Thompson) steps in to help her, he moves in and they have some frank exchanges she wants to know why he is gay and he wants to know about the baby, an unlikely alliance forms and they bumble along quite well until he starts to worry and reaches out to Helen for help. The reunion isn’t what he hoped especially as he bears the brunt of some awful jibes about his sexuality.

The story has come full circle. Unmarried mums struggling against poverty and adversity to survive.

WHATSONSTAGE AWARDS RETURN FOR THEIR 20TH YEAR WITH THE CEREMONY TAKING PLACE ON SUNDAY 1 MARCH 2020 AT THE PRINCE OF WALES THEATRE – VOTING FOR THIS YEAR’S NOMINEES NOW OPEN

WHATSONSTAGE AWARDS RETURN FOR THEIR 20TH YEAR WITH THE CEREMONY TAKING PLACE ON

SUNDAY 1 MARCH 2020 AT THE PRINCE OF WALES THEATRE

VOTING FOR THIS YEAR’S NOMINEES NOW OPEN

WhatsOnStage today announce that the 20th Annual WhatsOnStage Awards will take place on Sunday 1 March 2020 at the Prince of Wales Theatre. As well as seeing the winners crowned across 25 categories, theatregoers will also enjoy a host of live performances from top West End talent. The event is co-produced by Paul Taylor-Mills.

Booking opens on Wednesday 6 November 2019. Tickets will be available from £25 at whatsonstage.com.

Now in their 20th year, they are the only major theatre awards decided entirely by the theatregoers themselves. Nominations are now open and close on Wednesday 27 November 2019 ahead of the shortlists being announced. Voting then opens on Thursday 5 December 2019, closing on Monday 27th January 2020, ahead of the winners being announced at an awards ceremony on Sunday 1 March 2020.

Best West End Show will be rebranded for this year’s ceremony. The shortlist for the technical categories (Choreography, Costume Design, Direction, Graphic Design, Lighting Design, Musical Direction, Set Design, Sound Design and Video Design) will be decided by an independent panel of industry experts appointed by WhatsOnStage. Their shortlist will then be voted on by the general public. Further details will be announced shortly.

Twitter @WhatsOnStage #WOSAwards

Instagram @WhatsOnStage

Royal & Derngate announces full cast and creative team for its 2019 Christmas show Pippi Longstocking

Royal & Derngate announces full cast and creative team for
its 2019 Christmas show Pippi Longstocking
The World Premiere of
Pippi Longstocking
by Astrid Lindgren
A Musical Adventure
Adapted for the stage by Mike Akers
Original music by Stu Barker
Tuesday 10 to Tuesday 31 December 2019

The full cast and creative team has been announced for the world premiere of Pippi Longstocking, Royal & Derngate’s 2019 Made in Northampton Christmas show. Pippi Longstocking is adapted for the stage in the UK for the first time by Mike Akers from Astrid Lindgren’s much-loved books, 75 years after they were first written, following on from an initial script by the late John Miller. With original music by Stu Barker, this joyful new musical will be directed by The Wardrobe Ensemble’s Jesse Jones and Helena Middleton who co-directed Education, Education, Education for Royal & Derngate in 2017. Design is by Katie Sykes, with Sally Ferguson as lighting designer and Dominic Bilkey as sound designer. An ensemble cast is led by Emily-Mae as Pippi.

Celebrating nearly three quarters of a century since Astrid Lindgren first conceived Pippi Longstocking as “the strongest girl in the world”, this stage premiere of one of our best loved children’s books promises an epic musical adventure that will be created especially for family audiences at Royal & Derngate this Christmas. It follows on from the huge success of last year’s The Worst Witch which went on to delight London audiences in the West End this summer.

Nine-year-old Pippi is strong, brave and fearless. When she comes to live in her new home with her monkey and horse but with no parents and no rules, she brings mischief, chaos and confusion to the folk of this ordinary Midlands town. What else would you expect from the daughter of a swashbuckling pirate captain?

The part of Pippi Longstocking is played by Emily-Mae, whose recent credits include Little Shop of Horrors (Storyhouse, Chester), Brooklyn (Greenwich Theatre) and The Producers (Royal Exchange, Manchester). A talented ensemble cast of actor-musicians includes Scott Brooks (Much Ado About Nothing, Antic Disposition), Matthew Churcher (Peter Pan, National Theatre), Philippa Hogg (Peter Pan, National Theatre), Hanora Kamen (Education, Education, Education, Wardrobe Ensemble), Rowena Lennon (The Animals and Children Took to the Streets, 1927 Productions), Alex Parry (Burke and Hare, Watermill Theatre) and Luke Potter (composer and musical director for The Worst Witch, Royal & Derngate, UK tour and Vaudeville Theatre).

Pippi Longstocking has been adapted for the stage by playwright Mike Akers whose numerous family shows include Treasure IslandPeter Pan and Jane Eyre for Bristol Old Vic and the National Theatre.

Composed and musically directed by Stu Barker, whose West End and Broadway credits with Kneehigh Theatre Company include Brief Encounter and The Red Shoes, this energetic and joyful production will be directed by The Wardrobe Ensemble’s Jesse Jones and Helena Middleton, who together directed Royal & Derngate’s co-production of Education, Education, Education, which won The Stage Award for Best Ensemble and a Fringe First. Jesse’s other credits for Royal & Derngate include early years Christmas show Second Star to the Right, whilst Helena’s family production of The Star Seekers recently played at the National Theatre.

The production is designed by Katie Sykes whose credits include A Monster Calls at the Old Vic, and Jane Eyre and Peter Pan for the National Theatre. The lighting designer is Sally Ferguson (The Importance of Being Earnest, Watermill Theatre; Strange Fruit, Bush Theatre) and sound design is by Dominic Bilkey (Jane Eyre and Peter Pan, National Theatre; Shadowlands, national tour).

This enchanting family show is co-produced by Wizard Presents and ABA International Touring (UK) as part of Royal & Derngate’s Made in Northampton season.

Pippi Longstocking takes to the Royal stage from Tuesday 10 to Tuesday 31 December 2019. For more information, call Royal & Derngate’s Box Office on 01604 624811 or visit www.royalandderngate.co.ukPippi Longstocking is presented by arrangement with IPR Ltd in cooperation with Nordiska ApS., Copenhagen.

Made in Northampton is sponsored locally by Michael Jones Jeweller.

@RoyalDerngate / #MadeInNorthampton / #pippimusical

* A charge of £3.50 applies for all transactions of £20 and over. Does not apply to Groups, Members or Disabled Patrons, and is per-transaction, not per-ticket.

FIRST LOOK – photos of brand new West End show “OI FROG & FRIENDS!” (Lyric Theatre, 29 November – 5 January)

Kenny Wax Family Entertainmentis delighted to share production shots of its new family stage show Oi Frog & Friends!.  As previously announced, the musical production will make its West End premiere at theLyric Theatre, Shaftesbury Avenue for a strictly limited season from 29 November 2019 to 5 January 2020, as part of a national UK Tour.  

Oi Frog & Friends! will bring together Kes Gray and Jim Field’s bestselling and award-winning picture books Oi Frog!,Oi Dog!, Oi Cat! and Oi Duck-billed Platypus!, published by Hachette Children’s Group. It is created for the stage by Director Emma Earle, Designer Zoe Squire (Co-Artistic Directors of Pins and Needles Productions), Composer Luke Bateman and Lyricist Richy Hughes. Puppet Design is by Yvonne Stone with Lighting Design by Ric Mountjoy.


The West End cast (pictured) are: Darren Seed as DOG,Lucy Tuck as CATJohn Winchester as FROG and Simon Yadoo as CHEETAH. 

LISTINGS

London – West End

Show: Oi Frog & Friends!

Adapted from the bestselling books by Kes Gray and Jim Field

Dates: 29 November 2019 – 5 January 2020

Venue: Lyric Theatre, 29 Shaftesbury Avenue, Soho, London W1D 7ES

Press Performances: Thursday 5 December 11am & Saturday 7 December 12pm

Flexible press dates available

Times: Daytime performances at 10am, 11am, 12pm, 2pm

Playing under ‘Thriller’

Tickets: From £15.50

Schools & Groups: 10+ £10 plus 11th ticket free.  Family Ticket (Admits 4): £66 

ACCESS: Thursday 12th December 11am BSL & Relaxed Performance 

For the full performance schedule and prices visit https://oifrogandfriendslive.com 

Box office: 0330 333 4812 / https://oifrogandfriendslive.com 

Category: Theatre / Family Shows / Children / West End / Play with Music

Suitability: Families with children 3+, Early Years, Reception and Key Stage 1

Running time: Approximately 55 minutes (no interval)

UK TOUR 

See your local Box Office for full tour details or visit https://oifrogandfriendslive.com

2019

Farnham, Frensham Heights                 12 – 13 October                       

Norwich Playhouse                               15 – 20 October           

Billingham, Forum Theatre                   22 – 23 October           

Ipswich, New Wolsey                            24 – 25 October

Hertford Theatre                                  26 – 27 October                        

Kingston, Rose Theatre                         29 October – 3 November 

2020

Hayes, Beck Theatre                             11 – 12 February

Aylesbury, Waterside                           13 – 15 February

Chichester, Minerva Theatre                17 – 20 February

Nottingham, Theatre Royal                   21 – 23 February

Liverpool, Playhouse                            26 – 29 February          ON SALE SOON 

Aberdeen, His Majesty’s Theatre          18 – 21 March

Bromley, Churchill Theatre                   1 – 4 April                     ON SALE SOON

Newbury, Corn Exchange                      6 – 7 April                     ON SALE SOON 

Birmingham Town Hall                         10 – 13 April

Leicester Curve                                    15 – 19 April                 ON SALE SOON 

Cardiff, Wales Millennium Centre         1 – 3 May

Mold, Theatr Clwyd                              4 – 6 May                      ON SALE SOON 

Newcastle, Theatre Royal                     8 – 9 May

Canterbury, Marlowe Theatre               22 – 24 May                  ON SALE SOON 

Salford, Lowry Quays                            26 – 31 May

Radlett Centre                                     8 – 11 June                   ON SALE SOON 

Lichfield Garrick                                   13 – 14 June                 ON SALE SOON 

Leeds, Grand Theatre                           18 – 20 June

More dates to be added…