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StoryHouse Live, Chester – until Saturday 19 October 2019

Reviewed by Julie Noller

5*****

The year is 1886 and Scottish writer Robert Louis Stevenson publishes his novella dissecting the concept that the human psyche has a good and evil side, lapped up by the Victorians who were fascinated by the Gothic tales of macabre as a way of escaping the dark and dank times in which they lived. Fast forward over a hundred years and we find ourselves in a time where the term to have a Jekyll and Hyde personality has seeped its way into the English language. Countless reboots and reincarnations of Stevenson’s story exist and will continue to be rehashed and loved as much today as they were in 1886. It is safe to say that everyone knows and understands the ideal that the good doctor following on in all good scientists footsteps becomes tormented by the quintessentially evil monster within.

Storyhouse is a thoroughly modern theatre and for this performance they have used the thrust stage, which basically means the stage has been raised up to first floor level and the audience is sat surrounding the stage almost within touching distance. This brings the dark Victorian set closer, the audience has a feel as if we are witnessing an experiment within a medical theatre. The music is eerie yet compelling and this is before any action has begun. The lighting is darkly Victorian as are the costumes, from the older Lady Gabriel in her navy bustle dress to young Rose in her modern bright light travelling dress that has turquoise ribbon which enables her to raise the hem and, whoa, even show off her ankles. The good doctor has a snazzy golden waistcoat and as Mr Hyde often makes reference to his coat and boots after all a good coat and boots are everything a man about town would need. Yes there are only four characters and I can not praise the actors highly enough. Natasha Bain as the older Lady Gabriel, having lived life and long ago realised that experience means great thought into the consequences leads to her cutting ties with Dr Jekyll the dashing Edward Harrison, suave and sophisticated he enthrals those around with his theories of separating the soul of good and bad parts. Slow sinking into despair and anguish he looks dishevelled and quite likely sunken into the depths of madness, yet it is easy to mistake madness for greatness. His words and movements are compelling on stage. Mathew Flynn as Mr Hyde is a confusing character, you want to mistrust and even hate him as you know he is a monster but there’s a sense of fear about him perhaps even a vulnerability. Finally there is young dizzy Rose wonderfully portrayed by Rosa Hesmondhalgh, she hasn’t the clipped tones of London town but a west country accent that sings across the stage and breaks the monotony. She is the new generation, independent, curious and seeking answers. Wanting to see everything without fear for her own life despite being warned by the older characters.

What is interesting is that neither the story nor the setting has dated, as I’ve said it is compelling viewing. Amazingly if you view through modern eyes and think about those Victorian times, then the story makes perfect sense and how clever is this story written so long ago in a time when opium dens were rife and frequented by the masses, a time where Absinthe led to chasing the green fairy and Laudanum was freely used without thought for any consequences. Use what we now know about addiction and mental health and you will view the story as not a separation of the soul into good and evil but as the tormented parts of a soul. The good doctor is in fact the very evil Mr Hyde. We are left to conclude how Jekyll sunk to the depths of depravity or even if he survives, for it feels we have neither the beginning nor ending but the middle. This does not matter, it is an extremely entertaining yet darkly intriguing piece of theatre. Watching has highlighted Mental Health Week to me and would quite possibly be a great first step to any debates.

Tristan Bates Theatre – until 26 October 2019

Review by Elizabeth J Smith

4****

Mites is a dark comedy exploring the mind of a troubled and lonely woman, Ruth. We find her living in the large house she once shared with her husband. Who we learn was a womaniser and control freak who went out one day and never came back or did he?

As the condition of the house deteriorates, with an infestation of dust mites, so does Ruth’s mental stability. In a bid to regain her house, and hopefully her mind, she employ’s a young pest controller, Ken, who instantly evokes memories of her missing husband, Kenneth. Ken realises the vulnerability of Ruth’s mind and see’s an opportunity to gain more than his paid services. Enter Ruth’s cat, who resembles an older chap, he denigrates and criticises Ruth relentlessly. How can poor Ruth over come these two manipulative men, who very much have their own agenda or is this all in her mind while she languishes in her hospital room? With a twist of fate can Ruth come through triumphantly?

We meet a family of dust mites watching the comings and goings of poor Ruth’s life like a soap opera, while dealing with their own issues of every day living. An over bering husband, small whiny child and a wife who wants to fulfil her dreams before her life ends.

Congratulations to James Mannin for writing a very thought provoking piece, perhaps raising more questions of mental health and how some may try to take advantage of the sufferer.

Claire Marie Hall, Ruth, gave a magnificent performance of a down trodden women hoping for a better way. She had so much to say it could have been a monologue. She encapsulated the mannerisms of a women in turmoil, you wanted her to triumph over her two tormentors.

George Howard, Ken, portrayed a devious chancer, with great expressions and physical presence.

Richard Henderson, Bartholomew, well done, I left the theatre disliking your character immensely.

A production with themes of mental health, paranoia and manipulation doesn’t sound like a fun night out, but the humour seeps through. You sympathise with Ruth and hope she gets better while wishing only bad things on the men.

An extremely well acted, funny piece, that get’s you thinking. A must see

REVIEW: ANNIE (Sunderland Empire) ★★★★

October 11, 2019 

For: West End Wilma 

https://www.westendwilma.com/review-annie-sunderland-empire-october-2018/

It was seeing Annie in the early 80’s that instilled in me a lifelong love of theatre, so I was very excited to be seeing the show at Sunderland Empire this week.

It’s 1933, America is in the midst of a depression and little orphan Annie (Kiana Dumbuya, Mia Lakha and Ava Smith sharing the role) lives with the other girls (Team Chrysler on press night) in the Hudson Street Orphanage, under the “care” of Miss Hannigan (Lesley Joseph). Desperate to find her parents (who left her with a note and a locket) Annie manages to escape and find a stray dog she names Sandy (played by Amber with a very waggy tail). Returned to the orphanage, she manages to be in the right place at the right time when Grace Farrell (Carolyn Maitland) arrives to take an orphan home to stay with billionaire Oliver Warbucks (Alex Bourne) to spend the Christmas holiday.

For such a little girl, Annie had a huge voice. During ‘Hard Knock Life’ with all the orphans, the live band seemed to drown out the voices but for Annie’s solo’s ‘Maybe’ and ‘Tomorrow’ she was clear and confident.

Lesley Joseph played Miss Hannigan to perfection. She used her body language and facial expressions exceptionally well and while being humorous, she imbued the character with a pathos which made it difficult to dislike her. The number ‘Little Girls’ was a stand-out and her interaction with Rooster (Richard Meek) and Lily St Regis (Jenny Gayner) gave us several comedic high points.

Carolyn Maitland played Grace Farrell in a sweet and loving way and with a fabulous singing voice. Alex Bourne was a quintessential Daddy Warbucks, seamlessly blending his tough and tender sides. He has a large stage presence and a great voice.

The set, costumes and lighting finish off the professionalism this production, with great use of projection and set changes to plunge us immediately into 1930’s New York. Nick Winston’s choreography is outstanding, big set pieces reminiscent of classic Broadway with tap dancing and lots of fabulous footwork

Touring the UK with 21 little girls and a dog must surely lead to its own set of both fun and problems so a massive shout out to the tutors and chaperones and dog handlers helping this show to be seamlessly magical.

Annie is an excellent family musical that leaves you full of hope and happiness for the future.

Sebastian Cater announced as new Head of UK Theatre

Sebastian Cater has been announced as the new Head of UK Theatre and Workforce Development. He will join the senior management team at UK Theatre and Society of London Theatre from mid-January 2020, taking over the role from Cassie Chadderton.

Sebastian has nearly 20 years’ experience in the commercial and subsidised cultural sector, with specialist skills in marketing, communications and business development strategy. As Director of Marketing and Sales at Sadler’s Wells he oversaw a large programme of change, including creating a new membership scheme, implementing an award-winning visual identity, managing the social media content creation and delivery, and devising a CRM strategy which increased customer retention.

Prior to this, Sebastian was Head of Marketing at media agency Target Live. Early in his career he worked for UK Theatre’s sister organisation Society of London Theatre, and has also been a Retail Manager and Trainer at The Body Shop. He is a Director of Dance Consortium, a Fellow of the Royal Society of Arts and an advocate for improving mental health and wellbeing in business.

Sebastian Cater said:

‘I am thrilled to be joining UK Theatre, an organisation that champions many issues I feel passionately about including leadership, diversity, advocacy, digital and workforce development. Although we are living in challenging times and there is much to be done, I am confident that by working together we can continue to strengthen and grow the sector for the future. I am really looking forward to working with UK Theatre members to make British theatre the very best it can be.’

Fiona Allan, President of UK Theatre, said:

‘We are delighted to have found an exceptional new Head of UK Theatre in Sebastian Cater. His previous experience crosses both the commercial and subsidised theatre sector, giving him a rounded perspective of our industry.  His knowledge of marketing, digital strategy and business intelligence systems is coupled with a passion for workforce development and inclusion, very much in line with UK Theatre’s ongoing strategic priorities. I am looking forward to working closely with him over the coming years.’

FINAL CASTING ANNOUNCED FOR

G O L D I L O C K S   A N D   T H E   T H R E E   B E A R S

LONDON PALLADIUM PANTOMIME 2019

Qdos Entertainment today (11 October 2019) announce that Janine Duvitski will play Mummy Bear, Sophie Isaacs will play the title role of Goldilocks and Lauren Stroud will play Baby Bear in the 2019 London Palladium Pantomime Goldilocks and the Three Bears.  Performances begin at the London Palladium on Saturday 7 December 2019 for a strictly limited 5-week run until Sunday 12 January 2020.

They join the previously announced Paul O’Grady as Baron Von Savage, Matt Baker as Joey the Clown, season regulars Julian Clary as The Ringmaster, Paul Zerdin as Silly Billy, Nigel Havers as Daddy Bear and Gary Wilmot as Dame Betty Barnum and a series of speciality acts including internationally renowned illusionist Phil Hitchcock, The Skating Medini (Asia and Dylan Medini) – a dynamic high-speed roller-skating act from one of Italy’s oldest circus families, Sascha Williams and Stephanie Nock – ‘Rola Bola’, from the Belli Family Circus in Germany and Europe’s youngest stunt rider Peter Pavlov and the ‘Globe of Speed’.

They are joined by ensemble members Charlotte Bazeley, James Bennett, Myles Brown, Samara Casteallo, Belle Kizzy Green, Sally Jayne Hind, Stevie Hutchinson, Ediz Ibrahim, Mollie McGugan, Ella Nonini, Alexanda O’Reilly, Justin Thomas, Amy Thornton, Maxwell Trengove, Charlotte Wilmott and Luke Woollaston.

Dame Betty Barnum and her daughter Goldilocks’ circus is under threat from an evil rival circus owner and, with the help of their madcap circus friends, they’re battling to rescue their Big Top from ruin. Will they succeed? All seems lost, until three brilliant Bears join the gang… Roll up, roll up to see panto join the circus, and be swept away by a London Palladium spectacular that’s just right, at the home of pantomime!

Returning for the fourth year and once again produced by the Olivier award-winning team and directed by Michael Harrison, choreography will be by Karen Bruce, set design will be by Ian Westbrook, with a returning team of costume designers including Hugh Durrant, visual special effects by The Twins FX, lighting by Ben Cracknell, sound design by Gareth Owen and original music by Gary Hind.

Janine Duvitski was in the original production of Abigail’s Party, written and directed by Mike Leigh. Her more recent stage credits include On the Town for English National Opera at the London Coliseum and The Coast of Utopia for the National Theatre.  She is best known on television as Jane in Waiting for God, Pippa in One Foot in the Grave and Jacqueline in Benidorm a role she recently revived on stage in Benidorm Live also produced by Michael Harrison.  Her film credits include About a Boy and The Madness of King George.

Sophie Isaacs was most recently seen on stage playing Annette Hargrove in Cruel Intentions the Musical which had its UK premiere at the Edinburgh Fringe this summer.  Her previous theatre credits include playing the title role opposite Craig Revel Horwood in the Qdos Entertainment production of Cinderella at the New Victoria Theatre in Woking, Heather McNamara in Heathers at The Other Palace as well as it’s transfer to the Theatre Royal Haymarket, Kinky Boots and Made in Dagenham both at the Adelphi Theatre, Grease at Leicester Curve Theatre and the European tour of The Rocky Horror Show.

Lauren Stroud was last seen on stage in the West End production of Strictly Ballroom at the Piccadilly Theatre. Her previous theatre credits include Scrooge at Leicester Curve Theatre, Top Hat at Kilworth House, Strictly Ballroom at the West Yorkshire Playhouse and on tour in Toronto, Hairspray, Dance ‘til Dawn, 9 to 5 The Musical and Grease all on tour in the UK and Wicked at the Apollo Victoria.

Best known as host of BBC Radio 2’s The Paul O’Grady Show and for helping rescue dogs in For the Love of Dogs – not to mention his acid-tongued creation Lily Savage – Paul O’Grady is returning to the London Palladium following his performance as The Wicked Stepmother in Cinderella, which reintroduced pantomime to the iconic venue in 2016.

Julian Clary returns to the London Palladium for the fourth year having previously played The Man in the Mirror in last year’s Snow White at the London Palladium, The Spirit of the Bells in Dick Whittington and Dandini in Cinderella. 

Matt Baker, who will make his Palladium Panto debut is best known on television as a presenter of The One Show and Countryfile on BBC1. Previously he presented Blue Peter and was a finalist on Strictly Come Dancing.  He has been seen on stage as Caractacus Potts in Chitty Chitty Bang Bang. 

Ventriloquist Paul Zerdin has previously appeared at the London Palladium as Muddles in last year’s Snow White at the London Palladium, Idle Jack in Dick Whittington and as Buttons in Cinderella.

Nigel Havers played The Understudy in the 2019 production of Snow White at the London Palladium, Captain Nigel in Dick Whittington and Lord Chamberlain in Cinderella, all at the London Palladium.

Gary Wilmot’s played Mrs Crumble in last year’s Palladium pantomime Snow White at the London Palladium and was also seem in the previous year’s Dick Whittington.

Goldilocks and the Three Bears is produced by Nick Thomas and Michael Harrison for Qdos Entertainment.

Nick Thomas is the founder and Chairman of Qdos Entertainment Group, one of the largest entertainment companies in Europe and is the UK’s second largest regional theatre and concert hall operator.  Earlie this year Thomas was awarded an MBE for Services to the Entertainment Industry and to Charity.

Michael Harrison has previously produced over 100 pantomimes for Qdos Entertainment where he is also Managing Director.  As a producer in the West End his credits include Joseph and the Amazing Technicolor Dreamcoat at the London Palladium, Gypsy, The Bodyguard, Annie and Mel Brooks’ Young Frankenstein.

As the world’s biggest pantomime producer, over the past 37 years Qdos Entertainment has established itself as one of the largest entertainment companies in Europe. Over the past three decades the pantomime giant has staged 719 pantomimes.

LISTINGS INFORMATION

Theatre:                               London Palladium, Argyll St, London W1F 7TF

Dates:                                  7 December 2019 – 12 January 2020

Gala night:                           11 December 2019 at 7.30pm

Box Office:                           020 7087 7747 (no booking fee)

Performances:                      see website for performance schedule

Website:                               PalladiumPantomime.com

Twitter:                      PalladiumPanto

Facebook:                             Facebook.com/PalladiumPantomime

THE ACCLAIMED, SPELLBINDING SHOW

      TO TRANSFORM WYNDHAM’S THEATRE

Unprecedented reconfiguration of the theatre

as Pi Patel’s epic journey is brought to life thrillingly on stage

Dazzling show based on Yann Martel’s Man Booker Prize-winning novel

to begin performances in London on 22 June 2020

Simon Friend, the producer of the acclaimed Life of Pi, is thrilled to announce that the celebrated Sheffield Theatres production will transfer to London in 2020. Life of Pi – Lolita Chakrabarti’s dazzling adaptation of Yann Martel’s extraordinary, award-winning book – was awarded a string of five-star reviews when it opened in Sheffield earlier this year.

Life of Pi will transfer to the Wyndham’s Theatre, with performances beginning on Monday 22 June 2020. The production is directed by Max Webster.

Tickets go on General Sale today, Friday 11 October 2019. For all information, please see www.lifeofpionstage.com

For the first time ever, the historic Wyndham’s Theatre will be transformed to fully accommodate the magnificent elements of the production that left audiences mesmerised and won unanimous critical acclaim.

Cameron Mackintosh, the owner of the Wyndham’s Theatre, said: “Rarely does a theatrical version of a film eclipse the original, but the brilliant staged adaption of Yann Martel’s “Life Of Pi” is one of those exceptions and I am thrilled that it is coming to the Wyndham’s Theatre after its sensational sell out premiere at the Crucible Theatre in Sheffield earlier this year.

The production team’s approach to the material has been mirrored by their innovative reinvention of the Wyndham’s auditorium, rejigging levels and extending the stage over the stalls so that the floor and walls of the theatre become one complete surreal environment, that I think it will be even more intense than before. Audiences are in for a Pi-flying ride into their imagination!”

Simon Friend said: “We are very fortunate to have Cameron Mackintosh’s full support behind our reconfiguration of the Wyndham’s Theatre. This will give audiences the very best experience of our state-of-the-art design and video projection, as well as bringing the majestic Pacific Ocean in to the stalls.”

Rob Hastie, Artistic Director of Sheffield Theatres, said: “We’re delighted to be working with Simon Friend to take Life of Pi onwards from Sheffield Theatres. I’m almost envious of the new audiences who will get to discover the beauty and brilliance of Yann’s novel, Lolita’s play and Max’s production for the first time. Life of Pi demonstrates the commitment we make at Sheffield Theatres to putting adventurous new work on our stages, and is the result of the skills and hard work of an enormous number of people, all putting their talents in the service of great storytelling.” 

After a cargo ship sinks in the middle of the vast Pacific Ocean, there are five survivors stranded on a single lifeboat – a hyena, a zebra, an orangutan, a sixteen year-old boy and a 450-pound Royal Bengal tiger. Time is against them, nature is harsh, who will survive?

Based on one of the best-loved works of fiction – winner of the Man Booker Prize, selling over fifteen million copies worldwide – Life of Pi is a breath-taking new theatrical adaptation of an epic journey of endurance and hope.

Award winning writer Yann Martel’s works include The Facts Behind the Helsinki Roccamatios (1993), Self (1996), We Ate the Children Last (2004), Beatrice and Virgil (2010) – a New York Times Bestseller and a Financial Times Best Book, 101 Letters to a Prime Minister (2012) – a collection of letters to the prime minister of Canada; and The High Mountains of Portugal (2016).  

Lolita Chakrabarti is an award-winning actress and playwright. Her writing credits include; Red Velvet which opened at the Tricycle Theatre in London in 2012 before returning there in 2014, transferring to New York and the West End.  Red Velvet was nominated for nine major awards including two Olivier Awards. Lolita won the Evening Standard Theatre Award for Most Promising Playwright, The Critics Circle Award for Most Promising Playwright and the AWA Award for Arts and Culture.

Max Webster was the inaugural Baylis Director at the Old Vic and is now an Associate Director at the theatre where his work includes Fanny and Alexander, Cover My Tracks and Dr. Seuss’s The Lorax. Selected other stage work includes the forthcoming The Merry Widow (ENO), The Jungle Book (Northampton/Fiery Angel UK tour), The Winter’s Tale (Lyceum, Edinburgh), and King Lear (Royal and Derngate, Northampton/UK tour).

The extraordinary animals are brought to life by Puppet & Movement Director Finn Caldwell, who began his career in the original company of the National Theatre’s international phenomenon War Horse. He is the Artistic Director of his own company Gyre & Gimble, for whom work includes: co-director/puppet designer of The Four Seasons: A Reimagining (Shakespeare’s Globe), The Hartlepool Monkey (UK tour) and The Elephantom (National Theatre & West End). His other work includes: director of puppetry/movement for Angels in America (National Theatre & Broadway), The Light Princess (National Theatre), War Horse (West End & Internationally) and Groundhog Day (Old Vic & Broadway).

Casting for Life of Pi is to be announced.

Life of Pi is produced by Simon Friend in association with Playing Field and Robert Bartner.

Darlington Hippodrome – until 13 October 2019

Reviewed by Hayley Thompson

4****

The 9th of October at The Hippodrome consisted with lots of fun and laughter, certainly coming from the children in the audience. Madagascar was a fun packed family musical which had every aspect you can imagine. The musical certainly lives up to its expectations and tells the story just like the movie! This is what I didn’t expect before entering the auditorium. 

The show opens up such brightness with its colourful set and lights with its magical music. We are then introduced to Marty the Zebra ( Posi Morakinyo) who clearly shows us the life of living in, not just any zoo but their fabulous, entertaining zoo. Marty is a cool and relatable character who has charm and can certainly dance! Joseph Connor’s Alex the Lion’s confidence powers the stage and was able to build a relationship with the audience as soon as he stepped foot on the stage, Connor Dyer’s Melman the Giraffe’s geeky self is a fun loving character and cleverly portrayed with its almost puppetry skills as a typical nerd. Gloria the Hippo ( Hannah Victoria) had umph! Her characterisation, sass and voice were brilliant and reeled in the audience as soon as she entered the stage. All characters were fantastic and definitely helped bring the movie to the stage. King Julian(Kieran Mortell) …. He really likes to move it move it! His comedy, characterisation, accent and physicality was perfect! We want more of King Julian! 

The children in the audience clearly loved this production but I’m pretty certain that the adults could have even enjoyed this more! The music may not be recognisable yet but with its catchy tunes and purposeful lyrics it wont be long for the musical theatre fans to search this one on Spotify! 

If you are wanting a joke filled night, to be fascinated with puppetry, set, costume etc etc! But also want a night out with the family, no matter what age! Madagascar is definitely the show to go and see. 

I certainly hope the cast continue to smile and wave! A huge well done to Alex the Lion with it being his first time in Madagascar. Thank you for the entertainment! 

Highly, highly recommend! 

Kings Theatre, Edinburgh – until 12 October 2019

Reviewed by Siobhan Wilson

4****

Set back in the early 1900s, a family are all sat around the dining room enjoying a celebrator meal following the daughter getting engaged when there is an unexpected visitor. Then Inspector Goole enters the fray and there is many a family revelation that come to light.

Liam Brennan portrays Inspector Goole phenomenally. Every action and word is calculated but so casual that it appears that he is thinking on the spot and reacting accordingly not coming from a memorised script. His aside to the audience and interaction with extras on stage is so natural and fluid it is so enjoyable to watch.

Chloe Orrock who is Sheila Birling the daughter that has just gotten engaged has a great range of emotive expression, from the timid young fiancée to the caring sister via exasperated daughter. She has a great ability to portray many emotions through her face and body only enhanced by her verbal range.

There is not a weak member in this cast, down to Linda Beckett who is Edna. She doesn’t have a line in the show but her presence is hugely felt and you can clearly see how she feels through her actions.

Ian MacNeil the set designer has outdone himself, from the house on the street that is closed off and you can hardly see in, to the house opening is reflective of the story of all the characters being closed off and then when the inspector enters, they all open up eventually. I also love how curtain is also used as a prop and not just lifted when the show starts.

The surprises, shocks, twists and turns in this show is perfect. I thoroughly enjoyed the mystery and thrills that came through this show.

The Birmingham Stage Company are enjoying a world first as their hit show TOM GATES live on stage is being turned into the latest novel by the bestselling author Liz Pichon. While books are regularly adapted for the stage, it’s a world first for a stage show to be turned into a book.

Tom Gates live on stage was written by author Liz Pichon with Birmingham Stage Company’s actor-manager Neal Foster and premiered in February 2019. The show has since been touring across Britain, winning over Tom’s many fans and introducing many others to Tom’s world.

The brand-new book is called Tom Gates: Spectacular School Trip (Really) and published by Scholastic on 3 October. It tells the story of Tom who is desperate to go on a school trip, but with three sad faces on the class achievement chart, it looks like he won’t be going anywhere. Will his song about chips get him into the headmaster’s good books? Will the dog stop eating his homework?

Neal Foster said today: “I am a huge fan of the Tom Gates books series and jumped at the chance to bring Tom to the stage but it was important to me that we presented a brand-new story, so I had the fantastic experience of writing it with the amazing author Liz Pichon. When Liz told me she wanted to turn it into her next book, all my dreams came true – to have our show go from stage to page is a real thrill.”

Author Liz Pichon said today: “The plot of the show is so funny I could see it would make a fantastic book. I’ve added lots of doodles all based on the live on stage show and fans of the books won’t be disappointed!”

The tour continues until 7 December 2019 with the remaining dates available at tomgateslive.com