King’s Theatre, Edinburgh – 31^st January, 2^nd February.

Reviewed by James Knight

2**

Scottish Opera’s presents their new opera ‘Anthropocene’ – a psychological thriller set in the Arctic. A sudden freeze captures the crew of a research vessel in the ice, coinciding with the discovery of a woman buried deep within the frozen wasteland…

‘Anthropocene’ is in three acts composed by Stuart MacRae and libretto by Louise Welsh, the writing team behind 2016’s ‘The Devil Inside’. The music borders on experimental – the orchestra is pushed to the furthest ranges possible to create a shifting soundscape that reflects the ever-changing polar ice caps. The percussion is of particular note, in particular the use of what sounded (to this reviewer at least) like a superball mallet, which when dragged across a drum produces a haunting and expressive drone. The use of elements such as these, as well as inviting the strings and woodwind to play in quartertones adds to the otherworldly quality.

The performers prove themselves well against a challenging score. Of particular note is Mark Le Brocq (Tenor) as the expeditions’ benefactor Harry King, whose extravagant vocal flourishes immediately reveal to the audience his self-confidence and swollen ego, and Jennifer France (Soprano) as Ice, the mysterious frozen woman, whose vocal range is pushed to impressive extremes.

But for all its technical prowess, the story and human interactions felt, well, cold. Crafted as a thriller, with a group of mismatched people thrown together in dire circumstances, there’s very little time given to build the relationships between the characters. Coloured jackets may pair up the crew, husband to wife, father to daughter, captain to ship’s engineer, leaving the journalist Miles Black (Benedict Nelson – Baritone) conspicuously adrift, foreshadowing future developments, but more time could have been given to make the audience feel for these characters. Instead, even in quieter moments, such as a contemplation of the Aurora, the music is very much focussed in cranking up the tension. This may of course be a conscious decision on the part of the writers, but it doesn’t give the characters any room for relatability.

The pacing struggles too, and the first act feels like it could naturally be trimmed, while the conflict and climax in the third act, as well as the revelation of Ice’s past feels rushed, and the internal logic of sacrifice and climate change are questionable.

‘Anthropocene’ is musically and vocally impressive, and symbolic touches like a hanging, skinned polar bear hint at darker events to come, however more time perhaps needs to be spent on the development and nurturing of the characters.

CLIVE OWEN

LIA WILLIAMS

ANNA GUNN

to headline

Also to star the renowned Julian Glover

James Macdonald to direct Tennessee Williams’ last great play

Strictly limited season begins Saturday 6 July | Noël Coward Theatre

Clive Owen returns to the West End for the first time in 18 years to play the Rev. T. Lawrence Shannon in THE NIGHT OF THE IGUANA, in a new production directed by James Macdonald.

Golden Globe-winner Owen (Closer, Children of Men) will be joined by Lia Williams (The Crown, Mary Stuart) as Hannah Jelkes, Anna Gunn (Breaking Bad) as Maxine Faulk and Julian Glover (Game of Thrones) as Nonno.

The Night Of The Iguana will be directed by James Macdonald, (whose West End credits include the acclaimed recent production of Who’s Afraid Of Virginia Woolf, The Father and The Changing Room) and will be designed by Tony, Olivier and OBIE-award winning Rae Smith.

It will begin performances at the Noël Coward Theatre on Saturday 6 July and play a strictly limited 12-week season.

Tickets go on sale on Tuesday, 5 February at www.iguanawestend.com

In the strange limbo of 1940, on a dilapidated hotel verandah perched high in a rainforest above the west coast of Mexico, a group of lost souls collide – a defrocked priest turned tourist guide, the grieving widow who runs the hotel, a family of jubilant Nazis… and an itinerant portrait artist with her 97 year old poet grandfather. The result is an epic battle between flesh and spirit, captivity and freedom, art and faith – heightened by the arrival of a tropical rain-storm.

Further casting to be announced.

The Night Of The Iguana is produced by David Richenthal, Fiery Angel, Gavin Kalin and David M. Milch.

Mayflower Theatre Southampton – until 2 February 2019

Reviewed by Jo Gordon

5*****

These days when people hear Beauty and the Beast they think of singing Teapots and dancing Candlesticks, this is not that…..it is much much more! I cannot claim to know a lot about Ballet, other than watching this performance doubled my attended productions and I am aware of Darcy Bussel, here my knowledge endeths.

It begins with a book loving Belle (Delia Matthews) perched aloft a library ladder enjoying getting lost in a story while around her a blood thirsty Prince (Tyrone Singleton) hunts down a scared Vixen (Beatrice Parma) in a bid to show off to his friends. A Woodsman saves the Vixen turning her into a wild girl (Yaoqian Shang) and placing a curse upon the Prince transforming him into a beast.  We then follow how Belles father (Rory Mackay) retrieves his fortune ending up at the Beasts castle and on “stealing“ a rose to take home for Belle ends up having to promise her to the Beast. The Beast desperately tries to win her over and repeatedly asks for  her hand in marriage to no avail, having to let her return home and facing his own potential death unless Belle admits her true feelings. Running alongside this thread is the story of her two spoilt sisters and an indecisive rich pig nosed Suitor with more riches than sense which has a lovely comedic side to it.

With a  stunningly beautiful baroque set and Gothic castle lit with candlelight and mirrors the fairytale comes alive. The dancing takes your breath away, along with sublime costumes and the orchestral music (Royal Ballet Sinfonia) it all makes for a magical viewing. I came away having learnt two things which were: I really need to go and see more ballet and Love is the key to all things.

Yvonne Arnaud – until 2nd February 2019

Reviewed by Heather Chalkley

4****

The director, Gareth Armstrong, has created a wonderful balance of farce, tension and drama in this true Christie style whodunnit murder mystery. Each character has a distinct and clear part to play. They work together, timing to perfection the quirky moments to make the audience laugh, revealing moments that raise their suspicions and lead them down blind alleys!

Gwyneth Strong as Mrs Boyle drew out the agitation in the other characters, with her sharp tongue and constant disgruntlement, building an atmosphere of friction for the main story. David Alcock’s Mr Paravicini was darkly mischievous from the outset, leading the audience to believe he was capable of wicked deeds. Lewis Chandler (Christopher Wren) was our favourite character displaying shades of dark and light throughout. Geoff Arnold (Sgt Trotter) made the audience laugh out loud when he arrived at the completely snowed in manor house on skis, poking his head through the window to introduce himself! Yet he was the most serious character. Nick Biadon (Giles Ralston) and Harriett Hare (Mollie Ralston) played a very convincing young married couple and novice guest house owners. Particularly when suspicions were running high, they laid out the doubt and fear that can be revealed when two people do not know each other quite as well as they thought! Saskia Vaigncourt-Strallen (Miss Casewell) developed her character, taking the audience with her in the most poignant moments at the end of the play.

There are leaked clues that can easily be missed unless you are paying attention! Well done to Gareth Armstrong for the very believable red herrings that kept the audience entertained to the end. Congratulations to the creative team that have somehow given a small set a real sense of manor house grandeur. Agatha Christie herself said “It is the sort of play you can take anyone to…”

TV Legend Nicholas Lyndhurst &

Musical Theatre Star Cassidy Janson

Join

Kelsey Grammer & Danielle de Niese

In

MAN OF LA MANCHA

Featuring the iconic song

DREAM THE IMPOSSIBLE DREAM

London Coliseum

Friday 26 April – Saturday 8 June 2019

It was announced today that the BAFTA award-winning actor Nicholas Lyndhurst and West End star Cassidy Janson have joined Kelsey Grammer and Danielle de Niese in the acclaimed musical Man of La Mancha which opens at the London Coliseum on 26 April 2019.

Man of La Mancha, produced by Michael Linnit and Michael Grade, the producers who brought Chess, Carousel, Sunset Boulevard and Sweeney Todd to the London Coliseum – are collaborating again with English National Opera to bring a brand new production of the multi-Tony award winning Broadway musical, Man of La Mancha to London, the first West End production of this much loved musical in over 50 years. 

Nicholas Lyndhurst, who will play the Innkeeper and the Captain is best known for his TV work which includes the classic series Only Fools and Horses as well as Goodnight Sweetheart and New Tricks. His previous stage credits include  the Grade/Linnit production of Carousel at The Coliseum and Trevor Nunn’s The Tempest at the Theatre Royal Haymarket.

Cassidy Janson who will share the role of Aldonza and Dulcinea with Danielle de Niese, played the lead role in the recent production of Chess at the London Coliseum and the lead in the West End production of Beautiful: The Carole King Story.  Cassidy is one third of Leading Ladies, a group formed in 2017 with fellow musical stars, Beverly Knight and Amber Riley.

Man of La Mancha will play a limited season, with performances from 26 April to 8 June 2019.  The press performance is on 30 April 2019.  It will be performed with ENO’s 35 piece orchestra.

Emmy award winning and Tony nominated actor Kelsey Grammer, best known for playing Dr Frasier Crane in NBC’s hit series’ Cheers and Frasier will make his West End debut playing Miguel de Cervantes and Don Quixote and the international opera star and soprano Danielle de Niese will share the role of Aldonza and Dulcinea with Cassidy Jonson.  Danielle will play the roles in 33 performances and Cassidy in 17.

Man of La Mancha will be directed by Lonny Price, who directed Linnit and Grade’s acclaimed London production of Sunset Boulevard at the Coliseum starring Glenn Close, as well as its hugely-successful subsequent Broadway transfer. 

Featuring the iconic song ‘Dream the Impossible Dream’, Man of La Mancha is Inspired by Miguel de Cervantes’s masterpiece Don Quixote.

In a 16^th century dungeon Cervantes and his man servant await trial from the Spanish Inquisition.  In his possession he has a trunk carrying an unfinished novel, Don Quixote.  As prisoners attempt to steal his possessions, Cervantes embarks on acting out his novel as his defence, transforming himself into Alonso Quijano.

Quijano, deluded, believes he is a knight errant, renames himself Don Quixote de la Mancha, and sets off on a fantastical quest with his man servant Sancho Panza. 

Chivalry abounds in this classic tale of knighthood, love, loyalty and adventure. 

The music in Man of La Mancha is by Mitch Leigh, lyrics by Joe Darion and book by Dale Wasserman.

‘The impossible Dream’ has become an internatonally-renowned song, and has been performed by Frank Sinatra, Elvis Presley, Andy Williams, Luther Vandross and The Temptations, amongst others.

Kelsey Grammer played Dr Frasier Crane in Cheers and Frasier for two decades.  He has won five Emmy Awards, three Golden Globe Awards and a Tony Award nomination in 2010 for his performance in La Cages aux Folles.

Opera Soprano Danielle de Niese, described by the New York Times magazine as ‘opera’s coolest soprano’ has performed to audiences world-wide, from the Metropolitan Opera to Covent Garden as well as performing on stage with LL Cool J. Sky Arts will feature Danielle as the subject of her own Southbank Show, presented by Melvyn Bragg on November 21, 2018.

Joining Lonny Price on the creative team is conductor David White, set designer James Noone, lighting designer Rick Fisher, sound designer Mick Potter and casting director David Grindrod CDG.

DATE FOR THE DIARY: West End LIVE returns to London’s Trafalgar Square on Saturday 22 and Sunday 23 June 2019

Trafalgar Square will once again be transformed into a theatre like no other with the return of West End LIVE.

Featuring performances from London’s best musicals, live and for free, this hugely popular event – a joint production between Westminster City Council and Society of London Theatre (SOLT) – is the ultimate celebration of London’s West End and an annual highlight for theatre fans young and old.

Date:  Saturday 22 June & Sunday 23 June 2019

Location: Trafalgar Square, London, WC2N 5DN

Tickets: Free event, no tickets required

westendlive.co.uk // @WestEndLIVE // #westendlive // @westendLIVE

Sheffield Lyceum – until 2 February 2019

Reviewed by Lottie Davis-Browne

3***

Long before J. K. Rowling had even thought up the idea of Harry Potter, author Jill Murphy had created her own magical character – Mildred Hubble. At just fifteen years old, Murphy created the character along with the other characters basing them on herself and her friends. “Mildred is based on myself when I had plaits so long I could sit on them!”, states Murphy, “Maud is based on my little best friend, Elizabeth and all the teachers (both nice and nasty!) are based on my school teachers.”

With eight published books (the most recent one being in 2018 – “First Prize for the Worst Witch”) and the first one in 1974, The Worst Witch has been hugely popular for decades. Along with the books there has been a television movie made in 1986, plus several television series (the most recent one still running at series three), so to finally have a stage adaptation is a dream come true for myself, having grown up in the early 80’s obsessed with the books and movie.

This book-to-stage adaptation is cleverly done as a play-within-a-play. In her final year at Cackles Academy for Witches, Mildred (“Millie”) Hubble (Danielle Bird) has written a play based on her years at the “oldest magical school in Britain”. However, as the play will also be shown to “plebs” (as the students call them) or “normal people” to you and I, Miss Cackle (Polly Lister), Miss Hardbroom (Rachel Heaton) states that “the use of magic is strictly forbidden…and cats must be left at home”. “The Worst Witch, by Mildred Hubble” – the play written by and staring Mildred (as herself) is announced as the story starts.

We meet young Mildred dressed in a different uniform to the other three girls – she explains she is from a non- magical family, and that she was due to start at the local City Academy, but on her first day of school whilst waiting for the bus she encountered three young witches awaiting a transportation spell to Cackles Academy. When Mildred mistakenly gets transported with them to Cackles she is given the opportunity to prove her worth and stay at Cackles Academy. It’s not all plain sailing however; she has the snobbish Ethel Hallow (Rosie Abraham) to contend with “witches are BORN, not made!” Ethel snarls when Millie is given the chance to stay on.

The story, and Mildred’s play continues as we meet her best friends Enid (tonight played by Emma Lau) and Maud (Rebecca Killick) along with Tabby – Mildred’s aptly named cat – a clever and effective hand puppet (get your programme to see how you can make your very own puppet cat!) but trouble is looming with the arrival of Miss Cackles evil twin Agatha (watch the hilarious Polly Lister as she is at one point literally split down the middle playing both Agatha and Miss Cackle!).

Act Two was certainly more lively with better special effects than Act One, designer Simon Daw has excelled my expectations of bringing the famous Cackles Academy to life with his spellbinding stage set, the characters look somewhat similar to Murphy’s original drawings (although I felt they’d leaned more towards the current television series characters with their casting, for example Miss Cackle is neither particularly old or plump in this production, however that is just a minor thing as a huge fan of the books that I’d picked up on). Having grown up with the books I always empathised with Mildred Hubble and felt, like Mildred, I didn’t quite fit in – something most young girls feel at some point.

Whilst I was eagerly anticipating Murphy’s books finally being given the stage treatment I was somewhat disappointed with this production. At times it lacked magic (no pun intended), felt painfully slow paced and duller than the dark uniforms of Cackles Academy.

However the young audience – the new generation of Murphy fans – seemed to adore it with the current television series bringing in the fans (admittedly I am somewhat hooked on the current series despite being almost 40 years old!). If this production had come out fifteen or so years ago, I’d probably be raving about it. It’s got potential to be spell binding, full of charm and every bit as enticing as the current series but sadly didn’t quite conjour up enough of the magic that Murphy’s books did for me.

The Duchess of Sussex makes her first official visit to the National Theatre as Royal Patron

The Duchess of Sussex today made her first official visit to the National Theatre. Earlier this month The Duchess was announced as Patron of the National Theatre, one of two Patronages passed on to her by Her Majesty The Queen. The Duchess is a strong believer in using the arts to bring people from different backgrounds and communities together. Today Her Royal Highness had the opportunity to see some of the work the NT is doing across the UK with communities and schools as well as hearing more about training opportunities for backstage careers.

The Duchess was welcomed to the National Theatre by Director, Rufus Norris, Executive Director Lisa Burger and Chair Sir Damon Buffini before joining a workshop with members of the Public Acts company led by Public Acts Director Emily Lim.

Launched last year, Public Acts creates extraordinary acts of theatre and community. The first Public Acts production was a new musical adaptation of Pericles which brought over 200 people of all ages from across London together with 6 professional actors to breathe new life into the Shakespeare classic in a new musical version. Following the workshop the Duchess met with Percy, Sharon and Blessing from the Public Acts company who told her about their experiences of being part of Public Acts and performing in Pericles last summer on the Olivier stage. 

Her Royal Highness then met current and former apprentices who are working as technicians in various departments including carpentry, metalwork and painting. The NT launched its apprenticeship and trainee programme in 2011. In most cases, the apprentices study for a level 2 or 3 qualification with a learning provider, combined with an opportunity to put the training into practice in the workplace, guided by some of the best practitioners in the country.

The Duchess of Sussex also heard about the National reach and impact of the NT’s work and met with Jenna Omeltschenko, Touring Partnerships Manager. Jenna looks after the learning and education work on the National Theatre’s touring programme across the UK. She also recently worked with over 60 schools across the UK who hosted our schools’ tour of The Curious Incident of the Dog in the Night-Time which was performed to nearly 13,000 students.

The Duchess ended her visit by watching a performance inspired by War Horse by primary school children from Edith Neville Primary School from Camden which was created to mark the centenary of Armistice Day. As part of this project primary schools were invited to see War Horse at the National Theatre and, in partnership with the Imperial War Museum, take part in a creative programme to enrich children’s understanding of World War One.

Rufus Norris, Director of the National Theatre said: “It has been a pleasure to welcome The Duchess of Sussex to the National Theatre today for her first official visit as our Royal Patron. The Duchess shares our belief that theatre has the power to bring together people from all communities and walks of life so it has been wonderful to introduce her to members of the Public Acts company today. The Duchess also heard more about our work outside of London across the country as we continue to build on our national work through our tours and learning programmes. We very much look forward to working closely with Her Royal Highness in the years to come and sharing more of our work with her”.

For more information on the National Theatre, visit: https://www.nationaltheatre.org.uk/

JULIET MILLS AND MAXWELL CAULFIELD STAR IN

THE LADY VANISHES AT RICHMOND THEATRE

Following the success of The Case of the Frightened Lady and A Judgement in Stone at Richmond Theatre, The Classic Thriller Theatre Company brings THE LADY VANISHES from Mon 11 – Sat 16 Mar.

Based on the 1939 Hitchcock classic and considered one of the best British films of all time comes a quick-witted and devilishly fun thriller with an all-star cast lead by husband and wife actors Juliet Mills and Maxwell Caulfield. Joining them is Lorna Fitzgerald, fresh from her shock departure from BBC’s EastEnders in the role of Abi Branning, Matt Barber (Atticus Aldridge in Downtown Abbey), Robert Duncan (Drop The Dead Donkey), Philip Lowrie (Dennis Tanner in Coronation Street) and Ben Nealon (Soldier Soldier).

Celebrated Emmy award-winning actress Juliet Mills’ debut was with her father John Mills in the movie In Which We Serve, aged just 11 weeks! More recently, in ITV’s Wild at Heart, she portrayed Caroline DuPlessis’ sister, played by her real-life sister Hayley. Other screen credits include the lead in US paranormal drama Passions, which ran for eight years. Her major stage debut was in Peter Shaffer’s Five Finger Exercise, in which she starred in the West End and on Broadway age 16.

Award-winning Maxwell Caulfield’s numerous big screen and TV roles include starring with Michelle Pfeiffer in Grease 2 and as Miles Colby in the hit American soap opera Dynasty and its spin-off series The Colbys. Caulfield made his Broadway debut in J.B. Priestley’s An Inspector Calls and his West End stage debut as Billy Flynn in Chicago.

When Socialite Iris’ unexpected travelling companion suddenly disappears, Iris is perplexed to find that all the other passengers deny ever having seen her. But with the help of musician Max, she turns detective, and together they try to solve the mystery of why the lady vanished…

The production is directed by Roy Marsden who is best known as an actor, particularly in his role as Commander Adam Dalgliesh in ITV’s P.D. James series, which he played for 15 years. But he has also been directing plays since he was 15 years old and had successful West End runs with Noel Coward’s Volcano and Agatha Christie’s (under the pen name Mary Westmacott) A Daughter’s a Daughter. This is now Roy’s third time directing a Classic Thriller Theatre Company production having previously directed Rehearsal for Murder and A Judgement in Stone. 

The Lady Vanishes at Richmond Theatre

Mon 11 – Sat 16 Mar
Tickets: From £13*

Show link: https://bit.ly/2QcswNt

Richmond Box Office: 0844 871 7651* Website: atgtickets.com/Richmond*
*Fees apply.  Calls cost up to 7p per minute plus your phone company’s access charge.

Storyhouse, Chester – until 2 February 2019

Reviewed by Joseph Everton

5*****

Halfway through a triumphant tour of the UK, the hilarious The Comedy About a Bank Robbery by Mischief Theatre Company continued its march into a grateful Chester last night. This, the second time I have seen this gem, was another glorious night of theatre set in the wonderful Storyhouse. After the success of the Laurence Olivier award winning The Play That Goes Wrong, writers Henry Lewis, Jonathan Sayer and Henry Shields are back with another crowd-pleaser.

After escaping from prison with the assistance of bent screws and their families (including a baby), Mitch Ruscitti (Eddy Westbury) heads back to 1950s Minneapolis to steal Prince Ludvig of Hungary’s (George Hannigan) half a million dollar diamond with the help of his man-eating girlfriend, Caprice (Julia Frith), from the Minneapolis City Bank- a ramshackle establishment and the last place anyone should stash anything of value. Throw in bank clerk Ruth Monaghan(Ashley Tucker ); her son and petty crook Sam (Sean Carey); ‘the most unfortunate man in the world’, Warren Slax (Jon Trenchard ); a flurry of relentless one liners and you have a recipe for laughter that is as almost as exhausting as reading this paragraph.

“This is the best comedy I’ve seen in years, is this” said the gentleman behind me during the interval and I scribbled down the quote happily. It was difficult to disagree. The reactions from the audience tell you everything you need to know about this show, with oohs, aahs, gasps, cheers and laughs abound. There are moments of real brilliance, leaving the audience desperate to show their appreciation. George Hannigan playing Caprice’s trio of manipulated admirers was hugely entertaining and, without wanting to spoil any surprises, the whole dimension flipping scene where the audience get a bird’s eye view of proceedings in the bank’s office was as impressive as it was hilarious. From perfect comic timing, boundless enthusiasm and heaps of athleticism to Ashley Tucker’s impassioned vocal performance, each and every aspect of The Comedy About a Bank Robbery was brilliant. A word must also go to David Farley, who brought life to the drab setting of a bank, ensuring that the audience never lost interest.

The Comedy About a Bank Robbery will wow crowds at Chester’s Storyhouse until 2nd February then continue it’s UK tour until early June. Get in from the cold, avoid the news and go and laugh at an outrageously funny show