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Theatre Royal, Nottingham – until 19 October 2019

Reviewed by Boo Wakefield

4****

Written by Tim Rice and Andrew Lloyd Webber in 1965 with its first full length production in 1974, Joseph and the Amazing Technicolour Dreamcoat has not lost any of its fun, musicality or entertainment value in 54 years.

This latest offering, directed by Bill Kenwright, brings back all the classic songs and music in style. It has a clever but simple set, comprising of just stairs which allowed continuous movement from the cast giving this production a feeling of high energy. The children who were the Joseph Choir (from the Attic Theatre School) sat on the stairs most of the way through the musical and gave a faultless performance.

In the lead role of Joseph, Jaymi Hensley leads the cast with confidence. His singing is polished and powerful reaching all the big notes effortlessly, and is aided by his youthful looks, appealing to the younger members of the audience.

Alexandra Doar shone in her debut role as the Narrator. Her clear, strong vocals allowed us all to follow the story of Joseph and his eleven brothers. Being the favoured son, his jealous brothers sell him into slavery, and he ends up in prison. He would have stayed there had it not been for his ability to read dreams which gets him noticed by the Pharaoh. Pardoned and now wealthy, Joseph is reunited with his family.

The eleven brothers glue the performance together with a master class of song and dance with clever new choreography by Gary Lloyd. Their melodies were faultless and added comical value to this version. Their characters changed from cowboys to American football players to French men, then Brazilians; all of which just seemed to fit into this entertaining production. And who knew a motorbike with wings would also seem just right for it too?

The standing ovation, which lasted throughout the final song, had everyone on their feet singing and clapping along with the cast. A fun packed production which should make any age smile and want to sing along!

Roll up, roll up! Birmingham Hippodrome celebrate their 120^th birthday with a free circus-themed
open day

On Saturday 26 October, Birmingham Hippodrome will be celebrating its 120th birthday by heading back to the theatres origins as a circus with a free open day for all the family.

To mark 120 years since originally opening its doors in 1899 as the “Tower of Varieties and Circus”, a number of free circus themed performances and activities will be taking place throughout the building, including the main auditorium, foyer and Patrick Studio, as well as outside in Hippodrome Square.

A range of jaw-dropping performances begin at 1pm, including appearances from Spanish Fire performers, Chango Fuego and Symoné, a hula-hopping roller-skating cabaret act not to be missed. The Acrochaps will dazzle and amaze with their strongman stunts, the Clockwork Ballerina will come to life in a flare of pirouettes and arabesques and Hannah Finn, Contortion Girl is set to stun with her flexibility and strength. Free performances will be taking place between 1pm-3pm and 6:30pm-7:30pm in and around Birmingham Hippodrome.

Families can also enjoy a free drop-in circus skills workshop for over 7s from 2:15pm plus a Heritage Talk on the history of Variety and Vaudeville from 6:15pm. Schools from Birmingham Hippodrome’s own Education Network will also have the chance to step into the spotlight with performances throughout the afternoon.

The celebrations coincide with the opening weekend of the dazzling Circus 1903 which runs from Friday 25 October – Saturday 2 November. Direct from a sell-out run at London’s Southbank Centre, audiences can expect all of the thrills and daredevil entertainment of a turn-of-the-century circus.

The show includes sensational life-sized elephants Queenie and Peanut, stunningly created by the award-winning team behind War Horse, who will take to the stage alongside Ringmaster Willy Whipsnade plus a huge cast of jaw-dropping acts from across the globe.

For more information and a full open day schedule visit birminghamhippodrome.com.

Sheffield Lyceum – until 19 October 2019

Reviewed by Lottie Davis-Browne

3***

Five years following its Broadway debut the bio-musical On Your Feet – the story of Emilio and Gloria Estefan – is off on tour following it’s West End debut earlier this year. The chart topping song promise that the Rhythm is Going to Get You – this show certainly delivers on that, although in-between the songs the beat is often much slower paced, often a little bland in places.

This opening performance at Sheffield’s Lyceum Theatre we had several major cast changes…..sometimes this has proved a blessing in disguise in some musicals (for example – the first time I saw Wicked at Apollo Victoria it was Emma Hatton as the famous green witch – understudy at the time and a new name in the world of theatre to me – but she blew my socks off with her performance, later taking over the lead role) but as much as I tried to like Francesca Lara Gordon in the role of Gloria Estefan, there were several times where her voice wasn’t quite powerful enough in some of the bigger belter hits. Whilst she worked well with leading man George Ioannides (as Emilio Estefan) with the duo having a believable chemistry; vocally Gordon lacked the stamina for such a demanding vocal role at times, but her voice on slower numbers had more power to it. Gordon delivered the more challenging notes better when backed by the ensemble.

Sergio Trujillo’s choreography is catchy and addictive to the point where you almost feel like getting up and joining in – which – word of warning to those on end stalls seats near the front – you do get pulled up to dance by the cast members at one point – luckily I’d already grabbed my walking aids ready for the interval dash so the cast member who approached me moved to the person behind (that would have been an awkward abrupt end to Act One if I’d not been on the ball!), with the live band on stage and the athletic moves in perfect unison you can’t help but tap your toes along to the beat. Whilst the choreography can seem a little repetitive at times, it’s such high energy that it is impossible not to want to dance to the beat.

The story starts in 1990 with a dance number from Gloria’s backing dancers, leading backstage to Gloria, her son Nayib and Emilio, and flashbacks to her younger days playing the guitar and singing to send a recording to her dad, José Fajardo, who is stationed in Vietnam in 1966. Growing up in the Little Havana neighbourhood of Miami, with her mother – Gloria Fajardo and Grandma, Consuelo Garcia, Gloria is eventually introduced by her Grandma to Emilio – who at the time was part of a group called Miami Latin Boys – and after Gloria (who at the time was studying psychology) is invited to play one of the songs she has written at one of the bands rehearsals. She soon joins the band, but whilst they rehearse Tuesdays’ and Saturday’s she only commits to weekends so not to interfere with her studies.

Whilst at first Gloria is reluctant to be in the spotlight, with the guidance of Emilio she soon feels more confident and the pair start to fall in love with each other. Some forty years later and the pair are still happily married. The story shows the battle the renamed band (Miami Sound Machine) face when trying to get their music played – they’re either turned away for singing in English or for being too Latino sounding. When they struggle to get their records played on radio, they turn to the nightclub scene and soon hit the big time.

The most memorable part of Gloria’s career of course was the tour bus crash on the 20th March 1990, which left her critically injured, suffering from a fractured spine when their coach collided with a semi truck during heavy snowfall. It was feared she would never walk again following a nine hour surgery to insert two permanent titanium rods into her back stabilise the joints. Following a years intensive physiotherapy, Gloria regained her strength and learned to walk again, returning to the tour she’d had to cancel following the tragedy. Ironically, Gloria fondly refers to the accident as her “rebirth” and it gave her a new sense of life, continuing to perform for decades to come to her millions of “EstaFANS”.

The story concludes in 1991 with her triumphant return to the stage at The American Music Awards. Whilst a must die hard fans, or for a nostalgic night out, it may not appeal to younger musical theatre fans although it’s worth noting that Hollie Ceasar had stepped in to play the role of Gloria’s Grandma for this evenings performance and gave a stellar performance – for me it was this performance that turned this review from a two star to a three star to me. So if you’re a die hard EstaFAN then get on your feet for this nostalgic performance, but if like me you remember the music but didn’t buy the records first time round, maybe give this one a miss.

FULL CASTING ANNOUNCED

FOR THE HIGHLY ANTICIPATED EUROPEAN PREMIERE OF

BY THE MULTI AWARD-WINNING WRITER AND THEATRE MAKER

RICHARD FOREMAN

DIRECTED BY PATRICK KENNEDY

RUNNING AT THE STUDIO AT NEW WIMBLEDON THEATRE FOR A STRICTLY LIMITED SEASON FROM 2^ND – 7^TH DECEMBER

ONLY BEING A TOURIST CAN ONE EXPERIENCE A PLACE

Davey Green (Ben), Tommy Papaioannou (Max), Georgia Small (Hannah) and Nikitas Stamoulis (Karl) will star in the eagerly awaited European premiere of ZOMBOID! by the multi award-winning stalwart of the New York avant-garde, Richard Foreman.

The film-performance theatre project plays at The Studio at New Wimbledon Theatre from 2 – 7 December with press night on Tuesday 3 December. It is the third and final part of the year long season of work Foreman At Fifty exploring Foreman’s 50 year career as a theatre maker. Originally staged in 2006 at the Ontological-Hysteric Theater in New York, ZOMBOID! is one of Foreman’s final theatre pieces and once again smashes theatrical conventions to smithereens with its use of filmed footage and live stage action.

ZOMBOID! is directed and designed by Patrick Kennedy and is produced by Patrick Kennedy Phenomenological Theatre.

Combining filmed footage with live stage action, five lost souls wander through an otherworldly landscape surrounded by stuffed donkeys, blindfolds and giant eyeballs.

ZOMBOID! is a deeply shrewd, multi-layered radical art experience which covertly opens a peephole into modern life and the effects of mass communication and information. It tells you more than any possible news bulletin about the secret forces at work in the depths of our live experience.

Mayflower Theatre Southampton – until 16 October 2019

Reviewed by Leanne Caplis

5*****

Kate Prince MBE and her company Zoonation bring to the stage the all singing and all dancing production that is Some Like it Hip Hop.

A dancing extravaganza with a story of ‘The Governor’ and his broken heart, banished books, no love and where women are kept subservient to men. The two female leads Jo-Jo and Kerri break the rules of the City and are thrown out but to prove their worth they return as men. Can Jo-Jo find true love? Will the Governor ever love again and find his daughter and will books find a way back into the City? Watch as the story unfolds as two females change the world.

This show opens with a local dance troop being given the opportunity to take to a theatre stage and boy did they do well! With loud whoops and cheers from the audience the youngsters amazed us with their moves for the first five minutes.

Then on with the main event and it really is an event not to be missed. This show is non-stop energy. It is jam-packed from curtain up and there really is no time to take your eyes of the stage.

The choreographers have worked wonders with the cast and I’ve never seen a story told through dance in such a way before. I was on the edge of my seat watching the street dancing and was in awe over the emotional dance scenes.

The lead female singers were out of this world! Voices that would not be out of place on the West End; powerful and beautiful. The only time my eyes were taken from the dances was to watch the singers. I was mesmerised by them and their ability to own a stage where already so much was happening.

It is hard to find negatives for this show and I had to dig deep. The narrator, on occasion, was difficult to understand. However, for me, the storyline wasn’t my main interest it was the infectious energy of the dancers. The only other gripe was the lack of programmes. Whilst all of the cast put 110% effort in, I would have liked to have mentioned a few by name and also know a bit more about them and where I could see them next.

The finale where each cast member did their own individual dances was terrific. Somersaults, back spins, balancing, the splits, and much more were on offer. The sheer delight of the audience at this part was evident with the clapping and cheering. The audience were on their feet for a standing ovation and it was easy to see why. With no time to sit back down the cast got everybody into a dance-along meaning we left the theatre smiling and dancing.

I look forward to seeing more by Zoonation and for those who have not had the chance to see this, I urge you to book. A beat boxing, rapping, singing and dancing sensation you should really not miss!

Darlington Hippodrome – until 19 October 2019

4****

I love a good thriller and Bill Kenwright’s adaptation of The Lady Vanishes, presented by the The Classic Thriller Company does not disappoint.

Set in the late 1930’s (the film was made in 1938), our play starts in a very atmospheric Austrian railway station, where a variety of travellers gather waiting to start/continue their journey back to England after an avalanche caused the train to be stopped.

Our assembly of characters include socialite Iris Henderson (Scarlett Archer) who is travelling back to London to marry a Lord Just before returning to the delayed train, to continue the journey to the UK, Iris receives an accidental blow to the head. Kind, former governess Miss Froy (Gwen Taylor) helps Iris on board.  They take tea and then, on Miss Froy’s advice, Iris goes to sleep. On wakening, Iris finds Miss Froy has disappeared and all her fellow travellers deny ever having seen her. Iris decides she must track down Miss Froy and enlists engineer and music lover Max (Nicholas Audsley) to help find her.  The train has not stopped so she must still be on the train.

Also on board are cricket mad Charters (Dennis Lill) and Caldicott (Ben Nealon), Lawyer Eric (Mark Wynter) and his mistress Margaret (Rosie Thompson).  Dr Hartz (Andrew Lancel), an SS Official (Joe Reisig), an Italian magician (Martin Carroll) and a Nun (Natalie Law)

The set, by Morgan Large, was impressive changing from station, to train, to station seamlessly with a great use of lighting (Charlie Morgan Jones) and sound (Dan Samson) to make it seem like a train on its journey – especially when the characters bob around giving the impression of movement.

I genuinely loved this show, with all its twists, turns and red herrings.  At the end of Act 1, I had no idea of where the story was going so it was nice to talk to my fellow theatre goers to find out their thoughts on the story.  By the big reveal I had guessed some of the plot but not the biggest twist of it all – although any Miss Marple drama should have taught us that kind spinsters are always the one to keep an eye on.

A thoroughly enjoyable night out

King’s Theatre, Edinburgh – until 19 October 2019

Reviewed by James Knight

2**

The Night Watch is adapted by Hattie Naylor from Sarah Waters’ novel of the same name. Weaving the lives of multiple characters together during and post-World War II, we follow, in reverse chronological order, how their lives affect each other over the years.

It is refreshing to see the lesbian relationships of Kay (Phoebe Pryce), Julia (Izabella Urbanowicz) and Helen (Florence Roberts) depicted with relatively little stigma from other characters. Of course all three must hide their sexuality – it’s the 40s after all. But to see a period piece that deals with homosexuality with positivity and optimism is uplifting to say the least, even if the actual relationships may not end happily ever after.

The reverse-chronology trope can be tricky when taken out of a literary setting – the first act’s introduction to characters were slightly confusing, and it was unclear as to whose story we were meant to be following. Kay is introduced first and then disappears quickly, leaving the audience to wonder how important she is – obviously in a novel, we can spend more time in the minutiae of her day-to-day life, but this is not so feasible in a theatre.

Once we eventually journey from 1947 to 1944, events and relationships begin to be clearer. The characters, ironically, seem to have more life and optimism during the Blitz than the aftermath three years later. This period however, comes with more disturbing scenes – one male character masturbates over a rape fantasy, which, in a play that has such progressive depictions of female characters feels jarring and uncomfortable not only for the audience but unnecessary.

Unfortunately, the performances are quite disjointed, at times seeming to present a heightened, almost stylised delivery, and at other times realism. This fractured nature throughout the play, coupled with the reverse-chronology of the storytelling distances, rather than includes the audience in the action. With a lack of homosexual relationships depicted in mainstream touring theatre, this was a chance here to turn that all around. However, this fragmented production falls short of the mark.

Hull New Theatre – until 19 October 2019

Reviewed by Catherine McWilliams

5 *****

Northern Ballet’s production of Cinderella has everything you could wish for, and more, prepare to be taken out of yourself and away to another place. It is a sumptuous, sublime piece, quite simply it is magical.

Of course we all think we know the story of Cinderella, so I was rather puzzled when Cinderella was dancing with the Prince at the beginning of the story, but all became clear when her father was killed and she then found herself in the kitchen of her stepmother. The story then continues some years later. There are of course no pantomime style characters, instead there is elegance and style in abundance. David Nixon has set the story in Russia and his costume design and Duncan Hayler’s set design are stunning.

The dancing is superb and David Nixon’s choreography wonderful. The Russian setting means that we see a range of dancing from Cossack style, ice skating, circus, ball dances, beautiful solos and fabulous duets. The scene changes were slick and very very clever.

Miki Akuta is the young Cinderella, she is gleeful and happy and full of youthful charm at one moment and then lost and lonely the next, the raw emotion pouring off the stage.

The step-sisters Heather Lehan and Rachael Gillespie dance their parts to perfection and it never becomes a parody. There is humour, youthful high spirits and a wonderful dance when they are teasing/bullying Cinderella with her scarf.

Sarah Chun is a rather terrifying step-mother, basically I would have done everything she asked at double speed! I was in awe that with one simple movement she was able to express so much, a superb performance.

Minju Kang is the older Cinderella and her performance is wonderful. She oozes emotion and there were breath taking moments as well as moments when I was holding my breath for her. Her final dance with Prince Mikhail (Javier Torres) had me in tears. The dances with the step-sisters are wonderful as are the moments when she is with The Magician.

Ashley Dixon is The Magician who helps Cinderella, he was full of humour and quirkiness and his dancing was an utter treat, from his slipping on the ice to the magic making. His costume was inspired.

Javier Torres was the perfect Prince Mikhail, haughty and imperious and then lost in his dancing with Cinderella at the ball and distraught that she has gone.

The Northern Ballet Sinfonia, conducted by Jonathan Lo provided wonderful music for the ballet, and it was good to see Jonathan Lo come on to the stage to take a bow.

I cannot tell you about whether the dancing was technically perfect or the names of any of the ballet positions but what I can tell you is how this ballet made me feel. I was completely lost in the dancing, I was transported to Cinderella’s world, hoping that it would come right for her, and gasping in awe as she did at the ice skating and the circus. The evening went far too fast, this was a visual and musical treat for the senses, full of raw emotion and stunning dancing. I shall repeat what I said at the beginning, this is a sumptuous, sublime piece, quite simply it is magical.

Treat yourself to a wonderful piece of magic, and transport yourself to another world.

Leeds Playhouse – Tuesday 15 October 2019

Reviewed By Dawn Smallwood

4****

My Beautiful Laundrette, based on Hanif Kureishi’s screenplay (released in 1985) comes to the Leeds Playhouse – a co-production with four other producing partner theatres. It is the third production to be hosted in the newly refurbished Courtyard Theatre and this adaptation is set to The Pet Shop Boys’ songs.

The story is set at the height of the 1980s (during the Thatcher austere years) and the clashes of cultures and social differences between the English, particularly the street punk subculture, and the Pakistani communities. Omar (Omar Malik) is introduced – he is the caregiver of his father (Gordon Warnecke – starred as Omar in the original screen play) who has turned to alcoholism following dissolution and tragedy. Omar has the opportunity to work for his uncle, Nasser (Kammy Darweish), which includes taking care of a rundown laundrette. After defusing a fight with taunts from the street punks, Omar meets Johnny (Jonny Fines) as he recognises him from school. He offers him the opportunity to work with him to fix up the laundrette. From then on their friendship grows and they eventually fall in love with each other.

The relationship between Omar and Johnny continues to blossom amid challenges including family and social issues within the family, Johnny’s former associates, and the Pakistani Community which are revealed. In addition there is the clash between both communities and how prejudices have alienated and bounded them. It isn’t any different today with communities having been alienated and marginalised from main stream society which sadly breeds ignorance and ultimately prejudices.

Under the direction of Nikolai Foster, My Beautiful Laundrette, with Grace Smart’s 1980s eye-catching contemporary staging, projects the complexities of two very different cultures. This story however the brings hope, brings love and how love can humanise and bring communities together. In the case of Johnny and Omar their love has no boundaries as linked in the song of the same name from The Pet Shop Boys (No Boundaries)

BANG BANG! A NEW FARCE BY JOHN CLEESE* TO TOUR UK

Based on ‘Monsieur Chasse’ by Georges Feydeau

With Tessa Peake-Jones, Tony Gardner and Wendi Peters

(*Mr Cleese does not appear in this production – he wanted to, but we wouldn’t let him)

‘Laugh out loud’ The Stage

‘Cleese is a master of surreal British slapstick’ Daily Telegraph

Exeter Northcott Theatre and Dermot McLaughlin Productions announce the Premiere UK Tour of Bang Bang!  A new farce from John Cleese, as he makes his stage writing debut with a hilarious new adaptation of this classic comedy.  A delicious blend of French Farce and Fawlty Towers.  Bang Bang! opens at Exeter Northcott Theatre on 6^th February and tours until May. Cast will include Tessa Peake-Jones, Tony Gardner and Wendi Peters.

When Leontine, a respectable society lady, discovers that she’s been hoodwinked by her husband, Duchotel, who’s always pretending to go hunting but really chasing after other ‘prey’, she vows to take revenge on the philanderer! But while Duchotel’s away, his lifelong fried comes calling – and he’s on the hunt too. Will Leontine get caught in his sights, or instead set a trap of her own? Secrets unravel as the devilish Duchotel finds himself snared in a door-slamming, trouser-dropping, balcony-climbing night of chaos set amidst the stylish apartments of Paris.

Tessa Peake-Jones became a household name with her role as Raquel in the iconic comedy Only Fools and Horses. Her extensive stage work encompasses the National Theatre and RSC, recent credits include The Winslow Boy and Shirley Valentine.

Tony Gardner first made his name in comedy as part of the award-winning comedy duo Struck off and Die. Since then he has appeared on TV in roles ranging from My Parents are Aliens to Last Tango in Halifax and on stage in Alan Ayckbourn’s classic Bedroom Farce.

Wendi Peters is most widely known for her role as Cilla Battersby in Coronation Street and is currently appearing in the West End smash-hit musical Big.

Dermot McLaughlin Productions, in association with Farces Galore Ltd presents the Exeter Northcott Production of Bang Bang!. Directed by Daniel Buckroyd with design from David Shields and lighting from David W Kidd.

John Cleese says “I am delighted to be working with Exeter Nothcott Theatre and Dermot Mclaughlin to bring Bang Bang! to stages across the country with such a talented cast. Farce is my greatest love – Fawlty Towers consisted of 12 farces – and I think UK audiences will love this hilarious classic.”

Daniel Buckroyd, Artistic Director & Chief Executive at Exeter Northcott Theatre says “We’re thrilled to be working with this fantastic team to launch this first UK tour of Bang Bang! here at the Northcott Theatre; partly because it’s such a funny script and we’ve assembled such a great cast, but also because regional producing venues are the life-blood of UK theatre – developing talent, growing audiences, providing the beating heart of a vibrant creative regional city like Exeter – so we’re proud to be flying the flag for theatre ‘Made in Devon’ across the country.”

Don’t miss your chance to book the best seats in the house for this riot of a comedy.  Tickets are on sale soon for listings and details visit  www.bangbangtour.co.uk  and follow #bangbangtouruk.

06 – 15 Feb – Exeter Northcott Theatre – www.exeternorthcott.co.uk

18 – 22 Feb – Theatr Clwyd Mold​ – www.theatrclwyd.com – 01352 344101

25 – 29 Feb – New Theatre Peterborough – www.newtheatre-peterborough.com – 01733 852992

03 – 07 Mar – Yvonne Arnaud Theatre Guildford – www.yvonne-arnaud.co.uk – 01483 44 00 00

24 – 28 Mar – Wyvern Theatre Swindon – www.swindontheatres.co.uk – 01793 524481

31 Mar – 04 Apr – Palace Theatre Westcliff on Sea –  www.southendtheatres.org.uk – 01702 351135

​06 – 11 Apr – Ashcroft Playhouse Croydon – www.fairfield.co.uk – 020 3292 0002

14 – 18 Apr – Orchard Theatre Dartford – www.orchardtheatre.co.uk – 01322 220000

20th – 25 Apr – Devonshire Park Theatre  – www.eastbournetheatres.co.uk

​05 – 09 May – Festival Theatre Malvern – www.malvern-theatres.co.uk – 01684 892277