STRICTLY COME DANCING – THE PROFESSIONALS 2020 UK TOUR
PRO DANCERS ANNOUNCED
TICKETS ON SALE NOW
★★★★★ Mail on Sunday
Dust off your dancing shoes! Following the hugely successful Strictly Come Dancing – The Professionals 2019 UK Tour, fans up and down the UK will be thrilled to learn the line-up of dancers who will be bringing all the glitz and glamour to the live stage in the brand new 2020 Professionals Tour. Tickets are on sale now.
Cha-cha-cha-ing their way around the UK will be no less than 10 of the incredibly popular and multi award-winning professional dancers from the 2019 Strictly Come Dancing BBC One series, in what promises to be another explosion of electrifying dance.
The world class line-up of Strictly professionals performing on the tour are: Australian Open Champion and 2018 finalist Dianne Buswell; Two-time Ballroom and Latin World Champion Nadiya Bychkova; Italian Latin Champion Graziano Di Prima; Professional World Mambo Champion and former Strictly finalist Karen Hauer; World Professional Latin Showdance Champion and 2017 Strictly Champion Katya Jones; undefeated four-time British National Champion Neil Jones; eight-time South African Latin American Champion and 2016 Strictly finalist Oti Mabuse; 2017 Strictly finalist Gorka Marquez; four-time Italian Dance Championship winner Luba Mushtuk and two-time Strictly Come Dancing South Africa finalist Johannes Radebe.
STRICTLY COME DANCING – THE PROFESSIONALS UK TOUR 2020
7 May Salford: The Lowry 7.30pm
8 May Salford: The Lowry 2.00pm & 7.30pm
9 May London: Palladium 2.30pm & 7.30pm
10 May London: Palladium 2.30pm
12 May Nottingham: Royal Concert Hall 7.30pm
13 May Nottingham: Royal Concert Hall 2.30pm & 7.30pm
14 May Blackpool: Opera House 7.30pm
15 May Liverpool: M&S Bank Arena 7.30pm
16 May Sheffield: Fly DSA Arena 7.30pm
17 May Birmingham: Symphony Hall 2.30pm & 7.30pm
19 May Hull: Bonus Arena 7.30pm
20 May Hull: Bonus Arena 7.30pm
21 May Newcastle: Utilita Arena 7.30pm
22 May Cardiff: Motorpoint Arena 7.30pm
23 May Cardiff: Motorpoint Arena 2.30pm & 7.30pm
24 May Plymouth: Pavilions 2.30pm & 7.30pm
25 May Plymouth: Pavilions 2.30pm
28 May Brighton: Centre 7.30pm
29 May Brighton: Centre 2.30pm & 7.30pm
30 May Bournemouth: International Centre 2.30pm & 7.30pm
31 May Bournemouth: International Centre 2.30pm
2 June Glasgow: Clyde Auditorium 7.30pm
3 June Edinburgh: Playhouse 2.30pm & 7.30pm
4 June Edinburgh: Playhouse 7.30pm
For more information and to book tickets visit strictlytheprofessionals.com
Katy Lipson for Aria Entertainment, Joseph Houston & William Whelton for Hope Mill Theatre and Timothy Cratchit Development LLC are delighted to announce the full cast for THE ASTONISHING TIMES OF TIMOTHY CRATCHIT, a new musical with book by Allan Knee (the writer of Hope Aria’s 2017 hit musical, Little Women), and music and lyrics by newcomer Andre Catrini. Ryan Kopel stars in the title role of Timothy. He is joined by Paul Greenwood, Michael Matus, Sammy Graham and Helen Pearson who star as Scrooge, Grimaldi, Lucy and Mrs Linden/Miss Poole respectively.
Ryan Kopel made his West End debut last year in The Inheritance (Noel Coward Theatre) and recently appeared in West Side Story (Edinburgh International Festival). Paul Greenwood has previously starred in Arthur’s World (SPID Theatre, London), You Can Always Hand Them Back (Mercury Theatre), A Christmas Carol (New Vic Theatre), Our Father (Watford Palace), Chitty Chitty Bang Bang (UK Tour) and Guys and Dolls (UK Tour). His TV credits include Father Brown (BBC), Holby City (BBC), Lewis (ITV), Midsomer Murders (ITV), Casualty (BBC), Superintendent Yelland in Spender (BBC) and PC Michael ‘Rosie’ Penrose in The Growing Pains of PC Penrose and Rosie (BBC). Michael Matus has most recently starred in Richard III (UK Tour), King Lear (The Duke of York’s Theatre), Broken Glass (Watford Palace) and The Wizard of Oz (Sheffield Crucible). His TV credits include Shakespeare and Hathaway (BBC), The Split (BBC) and Endeavour (ITV). Sammy Graham has recently appeared in The Happy Prince (The Place), Strike Up the Band (Upstairs at the Gatehouse) and It’s Only Life (Union Theatre). Helen Pearson played show regular Frankie Osbourne for 15 years in Hollyoaks (Channel 4). Her theatre credits include Comic Potential (Lyric Theatre), Love Songs for Shopkeepers (Stephen Joseph Theatre), Educating Rita (Swansea Rep/Tour) and Blood Brothers (Birmingham Rep).
Also in the cast are Trevor Whittaker as Quilp Hannah Brown as Momo/Miss Tulips and Sadie-Jean Shirley as Aria. Completing the cast are Dimitri Gripari, Tadek Chmiel and Tom Sterling.
THE ASTONISHING TIMES OF TIMOTHY CRATCHIT tells the tale of a young man who sets out to find his place in an expanding and volatile world. Inspired by the characters of Charles Dickens’s A Christmas Carol, the story follows the plight of young Tim from the home of his benefactor, Ebenezer Scrooge, to the theatrical madness of the great comic, Giuseppe Grimaldi.
The new musical will be directed by Jonathan O’Boyle (Hair, This House, Pippin, Rain Man, Aspects of Love), with choreography by Sam Spencer-Lane, musical direction by Chris Poon, set design by Gregor Donnelly, lighting design by Aaron J Dootson, sound design by Paul Gavin and orchestration by Assaf Gleizner.
THE ASTONISHING TIMES OF TIMOTHY CRATCHIT is produced by Katy Lipson for Aria Entertainment and Joseph Houston & William Whelton for Hope Mill Theatre, in association with Timothy Cratchit Development LLC.
Artistic Director of Sheffield Theatres, Robert Hastie, today announces a new creative hub dedicated to talent development. The Bank, as it will be known, will become home to a wealth of new talent as Sheffield Theatres expands its commitment to local theatre makers as well as the company’s existing Making Room network of artists and activities.
The Bank, which is located adjacent to the Crucible, will be a creative space for local artists and theatre makers to develop work, skills, collaborations and careers with the support of the staff and creative teams at Sheffield Theatres.
The Making Room, a network of local artists developed in collaboration with Theatre Deli, The Bare Project and Third Angel, will continue to flourish, with an expanded range of workshops and talks taking place in The Bank. The Bank will also become home to a 12-strong cohort of writers, directors and producers who will be selected through an application process over the next four weeks. Each will be supported and mentored over 9 months in a programme that will culminate in industry showcases, seed funding for projects and opportunities to work on Sheffield Theatres’ productions.
Robert Hastie, Artistic Director of Sheffield Theatres said, “Our city is full of creative talent who need space and support to think, imagine and create. We’re committed to sharing the resources and expertise we have in our theatres and to creating an environment where artists can thrive.
“At Sheffield Theatres we’re really keen to work with the city’s community of artists – and the artists in all Sheffield’s communities – to determine how we can best use this space. We’re starting with an offer, but we want to go forward in conversation and collaboration.
“There is a long line of artists who have shaped and shared their talents in Sheffield. The city is bursting with creative energy. As we open recruitment for the first Bank of directors, producers and writers, I can’t wait to see what the next generation of Sheffield-made talent will achieve.”
The Bank, named in recognition of its previous incarnation as an actual bank as well as its future life as a place in which investment is made in talent, has been made possible thanks to a gift from long-standing supporters, Jo and Chris Hookway.
Donor, Jo Hookway commented, “Chris and I are so pleased that we’ve played a part in enabling Sheffield Theatres to realise their ambitious plans with the opening of The Bank. The theatre has brought us a huge amount of joy, and we wanted to give back by helping to nurture the next generation of talent in our city. We loved the idea of The Bank immediately, and we trusted that Sheffield Theatres has the expertise to deliver something brilliant. For us, this is a living legacy; a way for us to see the impact that our gift will make on the theatres and the theatre makers of the future.”
Over the last three years Sheffield Theatres has significantly expanded its artist development programme. Its artist network, Making Room, now has over 1000 members; the Theatres make office space (the Writers Room) and rehearsal rooms available to local artists, and twice each year the Studio Takeover festival gives local artists and companies a platform to share and develop work in front of an audience. The assistant director opportunities across the in-house programme are highly sought after and the current writers’ group enjoys the support of playwright Chris Bush and the new work coordinator, who each offer advice and dramaturgical support. Currently, the company is limited in the work it can do with emerging artists and makers due to the availability of space across the existing buildings. The company rehearses and stages twelve in-house shows and welcomes over 75 touring companies to the stage every year, alongside an extensive and thriving learning and participation programme. The Bank prioritises talent development by providing a dedicated hub for artists and theatre-makers to call home right in the heart of the city.
Applications for the Bank of writers, producers and directors are now open and further details can be found by visiting sheffieldtheatres.co.uk/jobs. Refurbishment work is currently underway in The Bank with the opening scheduled for late November.
★★★★★ “These guys are fantastic… DON’T miss this show!” – Alfie Boe
★★★★★ “Do you hear the people sing? Yes! With dashing good looks, incredible voices and outstanding musical magic!” – Elaine Paige, BBC Radio 2
It’s (almost) the most wonderful time of the year! Back by public demand, The Barricade Boys today announce their second Christmas residency at The Other Palace in London’s West End.
Following a critically acclaimed season in 2017, The Barricade Boys, will return to London for three weeks only, from Tuesday 10 to Saturday 28 December, with a press night on Thursday 12 December at 20:00.
Join The Barricade Boys around the Christmas tree, escape the winter chill and enjoy the very best of festive cheer. Featuring fabulous harmonies, incredible vocals, dashing good looks and stacks of charm, The Barricade Boys, showcase the UK’s finest male voices from the world’s longest running musical – Les Misérables. After sell-out performances in London, a season on Broadway and a major 2019 UK Tour, The Barricade Boys have rightfully secured their place as the world’s leading musical theatre super group.
This glittering Christmas Cabaret will be packed with a stocking full of family favourites, including classics from ‘White Christmas’ to ‘Winter Wonderland’, ‘Let it Snow’ and ‘Santa Claus is Coming to Town’. And Christmas wouldn’t be Christmas without The Barricade Boys’ favourite crackers featuring songs from the musicals as well as some of the best pop, rock and swing numbers of all time.
The cast of the Christmas Cabaret are Simon Schofield (title role in Oliver! London Palladium, Joseph and The Amazing Technicolor Dreamcoat, The Sound of Music, Les Misérables), Dougie Carter (Les Misérables, Sunset Boulevard, La Cage aux Folles), Lee Honey Jones ((Les Misérables, The Book of Mormon, Mamma Mia!, Whistle Down The Wind) and George Tebbutt (Les Misérables, Chitty Chitty Bang Bang). There will also be a special guest star at each performance, to be announced soon.
The Barricade Boys have played nearly every major role in musical theatre from The Phantom of The Opera, Wicked and Billy Elliot to Jersey Boys, The Sound Of Music and of course Les Misérables.
The Barricade Boys were devised and created in 2015 by Scott Garnham and Simon Schofield.
Rose Theatre, Kingston-Upon-Thames – until 19 October 2019
Reviewed by Alexandra Sykes
4****
If you have ever wondered what goes on in the invitation only clubs of the elite universities, this is the play for you. Written by Laura Wade, Posh tells the story of the 10 members of the fictional Riot Club, an exclusive club at Oxford University, who meet once a term for a meal and to have fun. Having been disbanded for two terms due to an incident that ended up in newspapers, the boys are determined to still have fun but live up to the club’s reputation.
With the Riot Club banned from meeting in certain places, the boys book a room in a pub claiming to be a young entrepreneurs club so as to avoid detection. With all 10 members once again reunited both Dimitri (Jamie Littlewood) and Guy (Adam Mirsky) both announce their plans to run for president once current president James (Chris Born) graduates. As the evening goes on, and with many toasts along the way, the boys become louder and eventually the pub landlord asks them to leave as they are disturbing another party. The boys pay for the other guests and the landlord takes the money. When a prostitute (Ellie Nunn) refuses to do what the boys ask, they kick off and trash the place. After a fight with the landlord, the club decide on only one of them has to go to prison, meaning he will be kicked out of the university and the club in the process. Due to being seen as the instigator of the fight, Alistair (Tyger Drew-Honey) is offered up as the scapegoat so the others go free. A few weeks after the incident Alistair meets with Jeremey, a former Riot Club member and Guy’s godfather, and offers Alistair a job and says the other boys will take care of him in the future.
The set is basic, a pub dining room which the boys hire out, but the space is used well, with no areas of the stage being unused. Due to the boys attending a meal, a large table is used but the actors do not have their backs to the audience, they sit sideways on. The costumes are impressive, with the Riot Club members wearing tail coats and waistcoats to show that they are the Oxford elite.
All in all a good play although the language used by some of the characters makes you think again, especially with the swearing. Drew-Honey is amazing in the role of Alistair and really makes the others think about the predicament they are in. Although not suitable for younger audiences this play is a good night out and worth a visit.
Grease the Musical, which landed at the Wales Millenium Centre, is one of the most well-known story lines in history. Musical and non-musical fans have no doubt watched the film (starring John Travolta and Olivia Newton-John) which means that putting on a tour of such an iconic story in the form of a musical is a very difficult thing to do well but this production coped well with the general expectations.
The story of grease has had many iterations in its history from the original play (written by Warren Casey and Jim Jacobs) to the more refined broadway adaptation, to the film version that many people know and love and finally to every slightly altered version on the touring productions. This means the actors and producers have a very difficult task to make each production unique enough so the audience doesn’t feel as if they have seen it all before but while still keeping the iconic world of Grease that people are familiar with.
In this version the story began with Danny and Sandy, from the audience’s perspective, were standing inside a big TV that showed the image of a beach which is obviously a look back to their ‘summer romance’ which everyone is familiar with but the TV lighting was very unique and interesting. The creative time managed to blend the tradition of Grease with newer ideas and nothing showcased it more than this opening scene. From a personal perspective, I didn’t particularly like this TV concept as it was ridiculously cheesy and over-the-top but that is just a personal preference and I know that many people thought that this was a fantastic inclusion. A similar idea was used during the drive-in movie theatre scene were a projection of a film was put into what looked like a projector screen so the audience could clearly see the film however it was in the green and red 3D effect which made sense as Danny and Sandy were wearing 3D glasses. I much preferred this technical aspect but also am appreciative of all the ways the team on this show tried to make this tour unique and special to the audience.
The highlight of this show was the fantastic dancing shown throughout especially by the male members of the cast. The choreographer has planned complex routines that looked incredible when compared with the lights and staging. The song Grease Lightning for me was a fantastic showcase of dance which diverted from the dance moves everyone thinks of when thinking about this number but was incredible nether the less. Despite this though I felt the number needed to be bigger. This show is one of the most well-known numbers in the film and music and I expect a massive impact which this production slightly missed despite the inclusion of gymnastics and a flying car. In my opinion, it was the lights that let this number down it didn’t reflect the magnitude of the song. This concept of being slightly let down with the iconic moments in the show reappeared towards the show with Sandy’s big entrance in her new attire. With this production, she simply walked through a set of doors located downstage right almost off stage and so the shock of seeing her and Danny’s shock didn’t happen at the same time. I thought that she should have some sort of big moment with a spotlight so the two reactions align.
As a general note, the accents in this show needed work. Many people slipped in and out of the characters accents which are really frustrating to see. Some actors, when speaking in their desire accents, needed work on their pronunciation and devotion as it was often times very hard to understand what they were saying which makes the show difficult to follow. One accents that I found particularly annoying was Sonny Latieri (played by Damian Buhagiar) who had a very exaggerated Mexican accent however he was the most consistent actor with his accents which was great to see.
It is important to note that not all the blame for clarity of dialogue should go to the actors themselves, this show had a lot of microphones issues with the microphones not being on when they should be and so the volume was not always correct which meant people closer to the back of the auditorium would struggle to hear everything. This can be attributed to ‘opening night teething’ but still needed to be improved for future performances.
Darren Bennet who played both the Teen Angel and Vince Fontaine was very entertaining in this show but he appeared to excel more as being the teen angel than Vince. His singing as the Angel for Beauty School Dropout was amazing and was one of the highlights of the show. My only qualm with the teen angel role is that in the programme and certain advertising they use Peter Andre in the role however there is no mention of him in the programme and he isn’t in the show I saw which is very confusing and misleading. Another minor character that I personally enjoyed was Doody, played by Jordan Abbey. This character helped to provide many of the comical moments in the show but also he fitted the character perfect. The fresh-faced Jordan was believable as almost the plucky sidekick. Both the casting team and Jordan himself managed to fill this role perfectly.
Having to take on such a big role in this iconic show must be very difficult as you technically have all the stress and pressure of the big names who have taken on the role before you. Dan Partridge’s portrayal of the lead role Danny Zuko was very on-brand for the character. The problem with this character is that you have to be able to have enough swagger that the mannerism and actions look somewhat natural and logical to you as an actor. Dan Partridge excelled at the physicalisation of this role and made for a very believable cool group leader. On top of this, his singing was fantastic.
Another incredibly difficult character to portray in this show in Rizzo. She is a bad-ass throughout but obviously by the end of the story you are supposed to feel sorry for her. Rhianne-Louise Mccaulsky who took on this role was great but I think she wasn’t quite able to balance this concept. I think the directorial team made a decision to portray Rizo as almost a bully and so at the end, the sympathy from the audience wasn’t particularly there. However, Rhianne-Louise more than made up for it with her incredible vocals especially during ‘worse things I could do’ which was out of this world and had many of the audience members in tears. This song for me was the highlight of the entire show.
Overall, this production of Grease the Musical was unique and special but there were some aspects that were unpolished and needed work. I would rate this production 3 stars and would recommend it to any Grease fans who want to see how production companies can keep Grease modern and relevant in today’s times.
Based on the book by W.W. Jacobs, The Monkey’s Paw is a chilling story about being careful what you wish for. Set in a radio station, this version of The Monkey’s Paw is presented as a radio play, with audience members encouraged to close their eyes for the full experience.
With a small cast of 5 actors, the play starts with a 1930’s radio jingle for dealing with a cold. The radio station, the British Empire Radio Corporation, are proud to present a dramatic reading of some diary entries regarding the monkey and then, a radio play about the paw. Celebrated couple Nancy and Dick Everett (Jordan Baker and Becky Coops respectively) play the couple who are sent the monkey’s paw by their son who is away in India with the missionary. The radio director (Matthew Jameson) explains to the audience before the play starts that previous audience members have come over faint and it is perfectly acceptable to leave should you need to. Once the play starts the Everett’s forget their arguments and read the play for the listening audience. Once the play is complete the radio station is visited by Professor Swan from the British museum who intends to hold a Q and A session with the audience. After having his theory ridiculed Swan leaves but accidentally takes the prop of the monkey’s paw with him, leaving the real one behind. After an argument with her husband, Nancy wishes she was no longer his wife whilst holding the paw, believing it to be the prop. After Dick dies in the recording booth, the director runs off and Nancy, again holding the paw, wishes for the paw to go back to where it came from. A day later, the news reporter explains that Dick died and Nancy is in hysterics. The paw is never seen again.
With a set built to look like a 1930’s radio station the space is used well, especially for a small theatre. The costumes too help to set the scene with all 5 actors in 1930’s style outfits. As it is a radio play different sound effects are used, such as popping bubble wrap to be a crackling fire. This works well as when you have your eyes shut you can imagine the actual sounds. Although there are a few scary aspects, the lighting helps to add to the mood as the lights are dimmed down so everything is focused on the stage.
Not for the faint-hearted this play is a fun night out with the dire warning of being careful what you wish for.
Producers Michael Harrison and David Ian announced today cast changes for the national tour of the award-winning smash hit musical THE BODYGUARD.
From 12 November 2019, joining Alexandra Burke as Rachel Marron will be, Ben Lewis as Frank Farmer, Emmy Willow as Nicki Marron and Neil Reidman as Bill Devaney. Continuing in the show will be Craig Berry as Tony, Gary Turner as Sy Spector, Phil Atkinson as The Stalker and Simon Cotton as Ray Court. At certain performances the role of Rachel Marron will be played by Jennlee Shallow. Tour schedule below. thebodyguardmusical.com
The cast is completed by Rosie Cava-Beale, Myles Cork, Jaime Cox, Kerry Crozier, Sia Dauda, Gustav Die, Chris Edgerley, James Lee Harris, Holly Liburd, Natalie Jayne Hall, Jack Loy, Helen Parsons, Daniil Shmidt, Jessica Simmons, Yiota Theo and Michael Wade Peters.
Alexandra Burke returns to the role of Rachel Marron following her triumphant run in the show in both the West End and the subsequent sell out 2015/2016 tour. She first rose to fame after winning the fifth series of The X Factor and her debut number one single Hallelujah sold over one million copies in the UK, a first for a British female soloist. She most recently appeared as Svetlana in Chess at the London Coliseum and Roxie in Chicago at the West End’s Phoenix Theatre. In ? she reached the final of Strictly Come Dancing. Her other theatre credits include Deloris Van Cartier in the national tour of the musical Sister Act.
Ben Lewis was most recently seen in the West End as Larry in the award-winning production of Company at the Gielgud Theatre. His other West End credits include the title role in The Phantom of the Opera at Her Majesty’s Theatre and Forbidden Broadway at the Vaudeville Theatre. In his native Australia, Ben played the role of The Phantom in Love Never Dies for which he was nominated for a Helpmann Award and won the Sydney Theatre Award for Best Actor in a Leading Role in a Musical. His other credits include the national tour of Love Me Tender, Frank Butler in the Sheffield Crucible’s production of Annie Get Your Gun and Candide at the Menier Chocolate Factory.
Emmy Willow has previously played the role of Nicki Marron in The Bodyguard on the International tour. Neil Reidman’smusical credits include The Color Purple at the Menier Chocolate Factory and The Big Life at the Apollo Theatre in the West End. His other theatre credits include The Dispute for the Royal Shakespeare Company and the national tour of One Flew Over the Cuckoo’s Nest.
Craig Berry’s many theatre credits include Mamma Mia!, Cats, Closer to Heaven, Titanic and The Producers. Gary Turner is probably best known for playing Carlos Diaz in ITV1’s Emmerdale and Nathan Blake in Hollyoaks. His many theatre credits include national tours of Dead Guilty, How the Other Half Loves, Jekyll and Hyde and most recently Strictly Murder. Phil Atkinson recently played Pharaoh in Joseph and the Amazing Technicolor Dreamcoat at Kilworth House. He has also appeared in Little Shop of Horrors and Spring Awakening. Simon Cotton has appeared in A Clockwork Orange at the Park Theatre and The Dumb Waiter at the Yvonne Arnaud theatre. Jennlee Shallow’s many theatre credits include Nala in The Lion King in both Australia and Germany, Deena in Dreamgirls and Sarah in Ragtime. Jennlee has also performed in the Cirque du Soleil shows Kooza and Viva Elvis.
Based on Lawrence Kasdan’s 1992 Oscar nominated Warner Bros. movie starring Whitney Houston and Kevin Costner, THE BODYGUARD, directed by Thea Sharrock with book by Oscar winning (Birdman) Alex Dinelaris, had its world premiere at the Adelphi Theatre in London’s West End in 2012 and was nominated for four Olivier Awards. A sell out 18 month UK and Ireland tour followed, before the show returned to the West End at the Dominion Theatre.
THE BODYGUARD has played to over 3.6 million people in 15 countries and 45 US cities. Countries include the Netherlands, Germany, South Korea, Canada, Italy, Australia, Spain, France, the US Austria and Japan.
Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge; what they don’t expect is to fall in love. A romantic thriller, THE BODYGUARD features a host of irresistible classics including Queen of the Night, So Emotional, One Moment in Time, Saving All My Love, Run to You, I Have Nothing, I Wanna Dance with Somebody and one of the biggest hit songs of all time – I Will Always Love You.
There Are No Beginnings was written for, and is about, the women of Leeds in the 1970s and for all women today. The fantastic all female cast: Helen (Natalie Gavin), June (Julie Hesmondhalgh), Fiona (Jesse Jones) and Sharon (Tessa Parr) – through their honest and authentic performances, give us an insight into the stories and lives of the courageous and brave women who lived between the years of 1975 and 1980 (when the so-called Yorkshire Ripper disrupted and devastated the county). The audience gets a genuine (through the writer’s extensive research / interviews) account into how these women went about their everyday business and lives; whilst desperately trying not to become enveloped and stifled by the constant terror and fear that shrouded the streets they lived and walked on.
Written by Charley Miles and directed by Amy Leach, There Are No Beginnings shines the spotlight not on The Yorkshire Ripper, or even his victims but all women who lived in Leeds at that time. It examines how their relationships with each other were affected and how deeper bonds created as they began to depend on each other more, and less on men.
Helen, a vulnerable young prostitute, who we meet aged 14 at the beginning of the play, characterises a female who in real life has now been forgotten and discarded like the men who used and abused her. Natalie Gavin gives an outstanding performance of this damaged teenager and in doing so, finally gives the beautiful tragic girl her voice! Her edgy brave persona is so obviously a fake front as Gavin’s arresting portrayal cleverly reveals a sad and lost little soul who is just trying to survive whilst grabbing any bits of love that are thrown at her.
As June, the caring matriarch, Julie Hesmondhalgh delivers an absolutely flawless performance as a strong Leeds woman, who was trying to protect girls at risk in her job, alongside looking after her vibrant and dreamy teenage daughter. We feel her worry, her fear but mostly her resilient and resounding strength – to keep going and to keep the faith in that everything will return back to normal soon.
Humour, beauty and hope come in the form of Sharon, our mischievous but sweet teenager who is mooning over Donny Osmond and thinking about wedding bells. Throughout the play we see her transform into a woman and a woman with views and a voice – which she uses to becomes an activist who joins the feminist movement. Sharon is a total contrast to Helen and Helen’s plight becomes even more startlingly obvious when they interact, bringing moments of warmth but ones that are heavily laced with sadness due to Helen’s unfair and unfortunate life.
Fiona is also a strong but fiercely independent woman, who at times, is accused of overstepping the mark due to her burning ambition and desperation to get inside Milgarth Police Station. The only other police we encounter and in fact the only men we encounter are voices on tape recordings, which are accompanied by flashing, broken lights. These are intermittently aired and switched on throughout the play; giving a sharp haunting reminder of when ‘he’ roamed the towns and cities of Yorkshire.
There Are No Beginnings gives us the perspective of what life was like for the ordinary women of Leeds: mothers, working women, teenagers, students and women who did what they had to do to get by. They were brave whilst at their most vulnerable because they had to just get on and live to defy the smothering heavy fog of oppression and fear that the Ripper brought to their doorsteps. The solidarity of women shines through in this play and a respect for those who endured life in these times. May we never forget the murdered victims and their families, RIP beautiful ones – you are remembered.
New Victoria Theatre, Woking – until 19 October 2019
Reviewed by Becky Doyle
4****
What an absolute feel good show from start to finish! I loved every minute. I went into the show having really no idea what it was based on or what it was about. The recognisable tone of Dolly Parton rang out and I was engrossed.
The cast were fantastic, I was taken aback by the voice of Amber Davies who played Judy Bernly. Her solo piece was beautiful, strong and so touching. As someone who had seen her in previous TV shows I had no idea she was so musically and artistically talented. I had two stand out performances and that was from Georgina Castle (Doralee Rhodes) and Sean Needham (Franklin Hart Jr) both had me and the rest of the audience in absolute stitches. Sean in particular had some very daring moves on both the stage and up in the air – which left the first half on a great ‘hanger’.
The stage was set out well and the props and equipment utilised to the full. The lighting, something that doesn’t normally catch me eye, did. It was so colourful and stand out-ish it set the whole mood for the current scene.
My only criticism, and it is a small one at that was that sometimes I found the words of the songs hard to hear or understand due to the volume of the band playing, again only a very small remark.
The ending of the show was by far the best part and I as did many of the others in the audience got involved as much as we could with the last act. I would highly recommend this show, if your like me and didn’t know much about the story it’s easily picked up and now that I’ve seen it and know the background I could easily watch it again with the same joy and excitement as I did last night.
