Leeds Playhouse – 04th October 2018.

Reviewed by Sally Richmond

5*****

Charley Miles’ debut play Blackthorn, which reminded me of a modern day Wuthering Heights in places, knits together two sagas, a capricious love story and the sad decline of the old, traditional ways of rural living.

The first two babies to be born in a Yorkshire village for 20 years are the sole characters of the play (that we see physically) and they were brilliantly portrayed by two outstanding performers – Harry Egan and Charlotte Bate. Both actors had that ‘can’t take my eyes off you’ factor and we get to know them intimately despite never finding out their names.

At the start they play as inseparable, innocent children, then fall in love as teenagers but later grow apart as she moves away to university and he stays behind to work. This theme of leaving and returning, is like the boomerang they won at a country fair, they keep coming back to their village, back to their roots and back to each other.

After the girl moves away, the two central character’s lives are almost entirely lived apart from each other and we only get to see glimpses of them when they’re reunited at a wedding, funeral and holidays. Distant remains of their deep-rooted feelings for each other chaotically puncture their efforts to fully move on; as time goes by, she starts to take an interest in the industry of the village, upset at the idea that the old cow sheds might be in line for conversion into extravagant accommodation. But does she even have a right to deliberate and get so emotional about a place she’s not lived in for years and called home? She’s not that much different from those who are buying up the whole village these days is she?

We are not given any answers. Should we simply preserve a place to keep things how they’ve always been and not move forward with regeneration or is that process of renewal really one of destruction and devastating whole communities? Is this progress? The love story we’re all willing on to survive doesn’t appear to by the end, despite a strong and unrelenting fight. People and places change and what you once thought would always be there, might eventually disappear, like the blackthorn that will inevitably be stripped back and cleared.

At points the play makes you want to scream out, “Come on just get together and stop being so stubborn!” And as mentioned earlier, like Heathcliffe and Cathy, another Yorkshire pair of star crossed lovers, they just seem to have an unbreakable bond which unlike the circumstances of the village, is unchangeable and necessary. ‘Blackthorn’ is an engaging puzzle as on the one hand it is gentle and tender but on the other a sharp and harsh recreation of the pain of chapters in one’s life time. A remarkable and searching debut, with a significant and realistic story.

Blackthorn was a finalist for the prestigious Susan Smith Blackburn prize in 2017.

Blue Elephant Theatre, Camberwell, London – until 5th October

Reviewed by Lisa Harlow

3***

It is evident early on how much the content of the play means to the actors, and by the end I am nearing tears. Members of the cast all identify as British but discovered they are third-generation migrants. This link led them to research their heritage. The performance is peppered with radio excerpts as well quotes from stories and memories of the people they had interviewed. In spite of the high tension and tragic events that took place in Brixton in the early 1980s that are played out in Windrush Square, the performance is broken up with sunshine music, dance and humour.

The Windrush generation have been back in the headlines of late, and not for any good reason. These were workers from the Caribbean that travelled in response to a post war labour shortage in Britain, and faced an uphill struggle in terms of acceptance, equality and justice. Windrush Square takes its name from the central  public square in the heart of Brixton, where many migrants at the time settled.

We follow the trials and tribulations, and joy and camaraderie, of the Johnson family, from Jamaica, and the daily struggles they face going about their lives. The focus on the interracial relationship between a Johnson daughter and a white man training to be a policeman, allows the story to reveal the jagged obstacles mounted against the pair. Nadeyene Lewis(the daughter and girlfriend) certainly shines brighter through the show and brings magnetism to her expression. Certainly all the actors contributed to an thoroughly enjoyable show and Grandma certainly guaranteed to bring  the laughs at the most needed times.

“Please give me strength not to judge” declares the father as his mantra through the times of heightened racial divisions; can his resolve survive the numerous, and more bloody tests, the community faced?

This is a show worth seeing during Black History month. I dare you not to be moved by the ending speech and the reasons this story still needs to be told today.

*One Love*…so says Bob Marley

CLF Art Café – until 28 October 2018

Reviewed by Jason Rath

2**

“Come look at the freaks”

Never has there been a lyric written that epitomises a show in one line more than this one. “Sideshow” is a piece all about the truth behind the acts of the old freak show days, the pain and joy of constantly being with your one closest person in the world and how this impacts every single thing in your life, from marriage to job life, personality to anxieties. This show is a beautiful piece, with a brilliant thinkers plot and a gorgeous score from Henry Krieger, and follows the lives of Daisy and Violet Hilton, a pair of “Siamese Twins” who start their lives on stage at a grimy old freak show and end up being vaudeville’s biggest stars. We see them grow as women from timid naïve girls to strong independent women and watch all the twists and turns along the way. This show has all the tools necessary to succeed but as we all know sometimes this does not necessarily translate onto the stage.

Katie Beudert and Lauren Edwards were both fantastic as Daisy and Violet Hilton respectively. They played beautifully together and the close harmony work between the two was great. Beudert really showed off her acting chops in this piece and, while I think that Edwards was indeed strong, I think she got slightly overshadowed by her on stage sister. Alexander Bellinfantie was good as Jake, with a beautiful voice for such a young man, although he did sometimes let his riffs and trills get in the way of his diction which meant there were a fair few times where I completely lost what the lyrics were saying. Matthew James Nicholas was good as Terry Connor, the girls manager/agent, with a great voice and some brilliant acting, although I did get the odd feeling that at times maybe he didn’t want to be on that stage tonight as I could spot him sometimes getting distracted by what was going wrong or what needed fixing. Barry O’Reilly was also strong as Buddy Foster, with some great notes in is vocal register and, although maybe his acting wasn’t the strongest in the world, I did enjoy his performance. The same cannot be said however for the ensemble. While the vocals and harmony work were strong throughout the piece, I really can’t get over the lack of precision and drill in the ensemble. One particular thing the bugged me was the scene with them “reading” the newspapers. Whilst some members of the ensemble were fully in the moment, others were constantly glancing up over the top or even worse looking out into the audience to see what was going on, completely breaking character.

While I did have my problems with certain aspects of cast performances I think there were some strong technical aspects. There was some strong direction on show, whether that was used to its fullest extent or not is another thing. However one thing I did not understand was why the whole piece was set without even acknowledging the massive pillar that goes straight through the stage centre front and completely obscures view. If this was incorporated into the piece then maybe I could deal with it but it was just ignored and this really grinded on me. The lighting was good creating a really eerie environment on stage and this really helped the piece. The sound was poor with white noise and loud sounds constantly coming over the system, much to the audiences disappointment.

In conclusion, “Side Show” was a piece that had so much brilliant potential and, while it was there and evident, it was not always utilised properly. I came expecting so much good stuff from this show and I have to say as I left, I was pretty disappointed

Arcola Theatre – until 20 October

Reviewed by Claire Roderick

3***

Virginia Woolf’s Mrs Dalloway, with its meandering time shifting and interior voices, isn’t an easy option for the stage. Hal Coase’s adaptation plays with this, with the cast beginning the play with a debate about the truth, expectations and unsatisfactory entrances.

The story is set on a day in London between the wars, with society wife Clarissa Dalloway (Clare Perkins) preparing for her party that evening. As she walks through London she reminisces about her youth and her old friends Sally (Clare Lawrence Moody) and Peter (Sean Jackson), Also walking through the park are Septimus (Guy Rhys) and his wife Rezia (Emma D’Arcy). Suffering from mental illness after the war, and hallucinating about his dead friend Evans, Septimus is examined and committed by a doctor who is a guest at Clarissa’s party. The two main characters never meet, but news of Septimus’ suicide deeply affects Clarissa as she interprets it in the context of her own worldview.

The stream of consciousness narrative and the overlapping narratives are handled deftly by director Thomas Bailey, with the cast sharing lines, interrupting each other and using mobile recorders or stylised hand gestures to signal internal thoughts in conversations. It’s all very wistful and gentle, with Guy Rhys’s occasional outbursts as Septimus making an impact. Unfortunately, the character comes across as pitiful rather than sympathetic, and his suicide is unremarkable and forgettable – which may be exactly what Bailey was aiming for to highlight Woolf’s criticism of mental healthcare at that time.

There are some wonderful moments of comedy, most coming from Lawrence Moody as born again Christian Miss Kilman as she voices her adoration for Elizabeth Dalloway and her dislike of Clarissa in energetic asides as she continues her bland conversations. D’Arcy is intense and moving as Rezia, while Perkins floats across the stage as Clarissa, calm and collected, but capturing the innocence and joy of her youth charmingly in the flashback scenes.

The simple set, with a plain wooden frame and a simple rectangle of blue for the sky, later joined by another in sunset hues, keeps the focus on Woolf’s wonderful language, and Tom Stafford’s soundscape evokes the feel of an idealised London. This is an impressive production but, perhaps because of the source material, feels clever rather than emotionally satisfying.

Leeds Playhouse – Tuesday 2nd October 2018

Reviewed By Dawn Smallwood

5*****

As part of the 2018 Furnace Festival, an annual celebration which proudly showcases new theatre from up and coming artists to well established ones, Selina Thompson brings Salt her solo show to the Leeds Playhouse’s Pop-Up Theatre. The show could not be any more appropriate with the commencement of Black History Month.

Salt is about a journey that two artists take via a cargo ship from Europe to Ghana then indirectly to Jamaica and back home via the United States on another ship. This is where they retrace a former route of the Transatlantic Slave Triangle. The audience are invited to join Thompson on this journey in search for answers to their questions and the reminiscing of their memories. She poignantly shares the pain and grief that their past ancestors suffered and yet not forgetting how far their generations have gone to get where they are today. Strongly shared is the harsh reality of dispersion that imperialism, colonialism and capitalism have brought and the deep routed ignorance that triggered racism and marginalisation.

The dialogue is poetically rich and a figurative journey is explicably shared by descending deep down to the bottom of the Atlantic and slowly though painfully ascending to the top of the ocean. Salt is physically present on stage and the breaking of it is used to powerfully illustrate the truthful journey that both she and the other artist experienced and the indirect abuse they endured. An illuminated triangle rises above the stage reminds the audience poignantly the horrors of the slave trade and slavery (past and present). There is good use of a visual screening which is projected in defining and explaining what home and identity really are.

Thompson delivers a short but very powerful and moving account of Salt and how much one has to travel so far back to travel forward. The journey does not stop there and it resonates with one’s life journey with a particular focus on identity in somewhat an ignorant world. It is an unmissable play that requires full attention from beginning to end and emphasis is on not forgetting the past. Their physical journey across the Atlantic may have finished but like everyone their journeys continue figuratively as emphasised at the end. Salt is a flavourer for many things and with the kind offering from the artist afterwards, big thanks from many are personally shared for Salt.

Bristol Hippodrome – until 6th October 2018

Reviewed by Lucy Hitchcock

3***

Bee-gee whiz! Saturday Night Fever, adapted by Bill Kenwright, had all the elements of the 1978 film…including the iconic white suit.

The story follows that of Tony Manero, portrayed by Richard Windsor, a young Brooklyn man who is discontent with his current job and living arrangements with his family. He aspires to take his passion for dance further and we follow his quest to do so. Windsor was exceptional on the dance floor, showing the audience moves that had only been seen by Travolta in the original. Windsor did an outstanding job on the stage, leaving for split seconds between scene changes showing the audience his stamina and incredible ability to maintain the upbeat and fast pace of the show.

Manero, whilst practising for the newest dance competition, partners up with Stephanie Mangano portrayed by Kate Parr. Eventually, the couple embark on the classic ‘will they won’t they’ love story leaving the audience waiting for that kiss on the dance floor. Parr, along with her impressive and solid dancing, also had a very nice singing voice. She was one of the few cast members who sung and she treated us to ‘What kind of fool’, leaving the audience wanting more.

All of the cast were brilliant, but the stand out performances were that of The Bee Gees. Edward Handoll, Alistair Hill and Matt Faull were incredible. The casting was outstanding with these three. Their voices blended together perfectly and this truly was the closest to seeing the real deal you will ever get. This trio carried the show and together with the striking dancing made this show a success. There were some points where I forgot I was watching what is essentially a tribute to these great musicians and I was totally immersed in the soaring vocals that delighted the theatre.

The first act of this show fell a little flat and the acting left a lot to be desired, but the second act and fabulous finale picked up the show. There were some really amazing points in this show, but one thing that put a dampener on the fabulous dancing, was the lack of expression shown by Windsor as he took the stage alone. His focus and ability are nothing to be questioned, but he lacked a smile or any hint of enjoyment whilst showing the audience his aptitude. Hopefully, this was just a case of ‘first night in a new venue’ nerves but it still left me wanting some form of engagement with the audience.

Overall, this show was a decent tribute to the original film that thrust Travolta into the public eye, but felt a little unpolished in some areas. The lighting was true to the time, with a garish rainbow of colour that lit up both the stage and the audience’s imaginations. There was a fair amount of swearing in the first act which didn’t add much to the progression of the story line, but this was quickly forgotten when the audience got ‘Night Fever’.

New Wimbledon Theatre – until 6 October 2018

Reviewed by Elizabeth Smith

4****

An inspector calls is a haunting story of class divide. Written in 1945 by J B Priestly and set in 1912, it explores the core values of society and are as relevant today as ever.

We watch the Birling”s family celebrating their daughters engagement, congratulating themselves in the love match of two industrial families. Then inspector Goole calls to question the family on the grave matter of a young woman’s suicide earlier that evening. As the inspector interviews each member of the family the unfortunate tale of a young, working class woman emerges and
how each family member played their part in her demise.

Liam Brennan, Inspector Goole, was cool and unfazed by the superior attitude of the family. Seeking justice for a woman with no voice. His emotions running deep on each new revelation the family revealed.

Jeff Harmer, Arthur Birling, played the patriarch, with command and showing how, when the truth is out, it can change everything in an instant.

Chrisitne Kavanagh, Sybil Birling, carried an air of haughtiness, that she was determined to hold on to even when shown how wrong her assumptions were.

Andrew Macklin, Gerald Croft, played the toff with a certain 1940’s attitude that felt a little date and hammy.

Lianne Harvey, Sheila Birling, grew as a character from a silly spoilt brat to a woman who could see how actions have consequences.

Hamish Riddle, Eric Birling, was a believable young public school boy, who drunk to much and played to hard.

Diana Payne- Myers, Edna, bumbled around the stage setting scenes and giving an air of distain of the family.

The set was magical, like looking into a real life dolls house and like a house of cards can come tumbling down.

I didn’t get the presence of the ensemble, were they there to suggest the conscience of society?

Even if your not studying this tale for your GCSE’s I would recommend seeing it. Having no interval just heightens the tension of the play and it passes in a flash. You are left wondering if we have come very far in the last century, and will society ever change?

COMEDIAN AND TV STAR

TOM ALLEN

ANNOUNCED AS HOST OF

WEST END BARES: TOP OFF THE POPS

ALONGSIDE STARS OF THE STAGE

AT THE SHAFTESBURY THEATRE

ON SUNDAY 28 OCTOBER AT 7.00PM AND 9.30PM

The Make A Difference Trust is delighted to announce that following his hugely popular WEST END BARES debut in 2017, comedian and TV star TOM ALLEN will host this year’s WEST END BARES: TOP OFF THE POPS at The Shaftesbury Theatre on Sunday 28 October at 7.00pm and 9.30pm.

Tom said today, “I’m thrilled to be returning to West End Bares to kick off proceedings at TOP OFF THE POPS with the most incredible cast yet.  It’s an amazing night that’s really not to be missed and I hope to see you all there.”

Currently on a sell-out UK Tour and on tv screens as co-host of Channel 4’s “Bake Off: An Extra Slice”, Tom Allen is an award-winning comedian, writer and actor having won both So You Think You’re Funny in Edinburgh and the BBC New Comedy Awards. He has appeared on BBC One’s “Live at the Apollo”, BBC Two’s “Mock The Week”, Channel 4’s, “8 Out of 10 Cats Does Countdown”, “Channel 4’s Comedy Gala” and hosted “Bake Off: The Professionals”. His radio credits include BBC Radio 4’s “Just A Minute” and the Sony Award winning “Bleak Expectations”. He also records a popular weekly podcast “Like Minded Friends” with Suzi Ruffell. Tom Allen is playing at the world-famous London Palladium on 23^rd November.

Tom will be joined by an almighty line up of incredible singers from the biggest West End shows. These include Moya Angela (Dreamgirls, America’s Got Talent); Michelle Antrobus (Chicago); Natasha Barnes (Funny Girl); Luke Baker (Everybody’s Talking About Jamie, Footloose); Laura Baldwin (Eugenius!); Matt Croke (Aladdin); Laura Emmitt (Wicked);  Michelle Francis (School of Rock); Jordan Fox (Kinky Boots); Candace Furbert (Tina); Brennyn Lark (Dreamgirls); John McCrea (Everybody’s Talking About Jamie); Christina Modestou (Little Shop of Horrors);  Cedric Neal (Motown The Musical); Jay Perry (Motown The Musical); Jon Robyns (Hamilton, Legally Blonde); Danielle Steers (Bat Out Of Hell); Anna Van Ruiten (Motown The Musical); Lucie Shorthouse (Everybody’s Talking About Jamie) and Anna Woodside (Carousel) with more to be announced in the coming weeks.

TOP OFF THE POPS is also excited to welcome some of the West End’s most loved personalities who will join Tom Allen, alongside some of theatre’s current leading ladies and gentlemen, as guest hosts.  Head over to MAD Trust’s social media channels as we reveal all in the build-up to the big night.

They will join the previously announced Eva Noblezada (Miss Saigon, Les Misérables), who will open the show singing a brand-new song written for the occasion by returning favourites Mark Anderson and Luke Di Somma.

WEST END BARES: TOP OFF THE POPS celebrates the sexiest tracks from some of the world’s most iconic music artists. For the first time the show will feature an incredible live band and sensational singers alongside all the flesh audiences have come to expect with over 100 performers from the West End and beyond. All monies raised will go to The Make A Difference Trust to fund HIV and AIDS projects that raise awareness, educate and provide care and support in the UK and Sub-Saharan Africa.

For the fourth year in a row, WEST END BARES will be directed by David Grewcock with choreography from Tommy Wade-Smith (Book of Mormon, We Will Rock You), Racky Plews (American Idiot, Footloose, Knights of the Rose), Chris Whittaker (Seussical, Judy!, Top Hat), Matt Overfield (Motown the Musical, Chitty Chitty Bang Bang, Tommy), Callum Aylott  (Dreamgirls, The Illusionists, West Side Story), Matt Krazn (Chicago, Cats), Will Lucas (Wicked, Cats) and Joanna Goodwin (Sunset Boulevard, Chitty Chitty Bang Bang, Barnum) Josh Baker(Little Shop of Horrors) and Aston Hannington (Bat Out Of Hell).

WEST END BARES benefits the Make A Difference Trust, a UK based charity with a vision of a world free from HIV and AIDS.  Since its first scintillating show in 2010 WEST END BARES has raised over £250,000. Building on the legacy of 25 years of fundraising by the Theatre industry, they continue to make the vision a reality having distributed over £1.6 million in grants to support individuals experiencing hardship across the UK as well as over £1million to support projects with their UK and international partners.  WEST END BARES is based on the original concept BROADWAY BARES by Tony Award winning Broadway and West End director and choreographer Jerry Mitchell. For further information about the Make A Difference Trust please visit  www.madtrust.org.uk

Tickets for WEST END BARES are now on sale and are priced at £25 – £80. They are available fromwww.madtrust.org.uk or the Shaftesbury Theatre booking line 020 7379 5399 or in person at The Shaftesbury Theatre Box Office. Booking fees apply plus your phone company’s access charge. There are limited Stalls tickets available for both shows, so book now to avoid disappointment!

VIP Tickets are available directly from MAD Trust by calling 020 7231 9719 and include access to the pre-show drinks reception, VIP entrance to the theatre with a drink on arrival, £10 of MAD money, the best seats in the house for the legendary Rotation and access to the exclusive after party. Booking fees apply.

WEST END BARES are proud to be partnering with 100 Wardour St for this year’s exclusive After Party where you can continue to celebrate with the cast of the show. Tickets cost £10 and are only available when you buy a ticket for the 7pm or 9.30pm show.  Once again, there is limited availability for the After Party and when the tickets are gone, they’re gone – so don’t miss out!

Please note: All artists appear subject to availability.