BLOOD BROTHERS 30^th ANNIVERSARY UK TOUR CONTINUES INTO AUTUMN 2017

LYN PAUL REPRISES HER ROLE AS

‘THE DEFINITIVE MRS JOHNSTONE’

WATCH: BLOOD BROTHERS

2017 has marked 30 years since Bill Kenwright’s production of the international smash hit musical Blood Brothers first toured the UK. In celebration, this iconic musical has been visiting theatres across the country, performing to sell-out houses and receiving standing ovations. Due to its continued success the tour is continuing into the Autumn, opening on Tuesday 29 August at G Live in Guildford.

Hailed as one of the best musicals of all time, Blood Brothers, written by award-winning playwright Willy Russell has triumphed across the globe. Scooping up no fewer than four awards for best musical in London and seven Tony Award nominations on Broadway, Blood Brothers is simply unmissable and unbeatable.

This epic tale of Liverpool life started as a play, performed at a Liverpool comprehensive school in 1981 before opening at the Liverpool Playhouse in 1983, completing sell out seasons in the US, Australia, Canada, New Zealand and Japan. Blood Brothers also ran in London’s West End for 24 years, exceeding 10,000 performances, one of only three musicals ever to achieve that milestone.

No stranger to Blood Brothers, ‘The definitive Mrs Johnstone’ (Manchester Evening News) Lyn Paul reprises the iconic role, one she first played in 1997. Lyn played Mrs Johnstone in the final West End performances at the Phoenix Theatre in 2012.

Lyn rose to fame in the early 1970s as a member of the New Seekers. She was the featured vocalist on their 1972 Eurovision Song Contest entry, ‘Beg, Steal or Borrow’, in which they came second and lead vocalist on the 1974 number-one hit ‘You Won’t Find Another Fool Like Me’. Among the group’s other works, they recorded the song ‘I’d Like to Teach the World to Sing’, adapted from an advertising jingle for Coca-Cola, which sold over 20 million copies and still remains one of the 100 best-selling singles in the UK. She has also starred in the UK tour of Cabaret in 2013 as Fraulein Schneider, in Boy George’s musical Taboo and in Footloose – the Musical.

Musical theatre regular Dean Chisnall returns to the role of the Narrator. He has performed in a number of musicals including Shrek the Musical (West End and UK tour), Love Never Dies, Never Forget, Evita and The Woman in White. Sean Jones reprises his role as Mickey, a role he has performed in the West End, including as part of the final cast at the Phoenix Theatre in 2012 alongside Lyn Paul, and on tour.

Blood Brothers tells the captivating and moving story of twin boys separated at birth, only to be reunited by a twist of fate and a mother’s haunting secret. The memorable score includes A Bright New Day, Marilyn Monroe and the emotionally charged hit Tell Me It’s Not True.

When Mrs Johnstone, a young mother, is deserted by her husband and left to her own devices to provide for seven hungry children she takes a job as a housekeeper in order to make ends meet.

It is not long before her brittle world crashes around her when she discovers herself to be pregnant yet again – this time with twins! In a moment of weakness and desperation, she enters a secret pact with her employer which leads inexorably to the show’s shattering climax. A sensational cast, incredible show stopping music, remarkable staging and five star performances make Blood Brothers an enthralling night of entertainment.

Willy Russell is undeniably one of this country’s leading contemporary dramatists. His countless credits include Educating Rita and Shirley Valentine. Educating Rita, originally commissioned by the Royal Shakespeare Company, enjoyed a two year run in the West End and was made into a movie starring Michael Caine and Julie Walters. Shirley Valentine also made the move from stage to screen in an enormously popular film starring Pauline Collins and Tom Conti.

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Bill Kenwright presents

BLOOD BROTHERS

By Willy Russell

Directed by Bob Tomson and Bill Kenwright

Designed by Andy Walmsley                                   Sound Designed By Dan Samson

Musical Direction by Kelvin Towse                        Lighting Designed by Nick Richings

Monkhead Theatre presents:

Theatre N16 14th -24th June.  Reviewed By Jessica Brady 

Heart to Heart Theatre has arrived at Balham’s Theatre N16, in doing so they have produced a very interesting show that will make you think about mortality, love and robots.

Adam and April are a young 20 something couple in love, living together and doing what most average couples their age are. April has been specifically designed for Adam, she is A.I but is more human than most and her core purpose is to make Adam happy and they are planning a long future together but something goes wrong as April starts to shut down. April must now end her time with Adam by ‘killing herself’ and being sent back to the company that created her. Adam is adamant that April can’t leave him, he loves her and she is his possession. The couple are summoned to state their cases and the decision as to whether April is to die or carry on life with Adam is given to the audience.

This highly interactive play (I can say that truthfully as I was given a voting card with an ‘X’ on it meaning that I was in charge of counting the votes and leading a debate on the outcome for the pair with the rest of the audience) has some really beautiful performances from Eve Ponsonby (April) and Peter Dewhurst (Adam). Their chemistry is very real, electric and that draws you in to this story full force as you become invested in what is going to happen. They perform so honestly and with such passion as they argue why April should stay or go and with flash backs of how their life was before, makes the decision easy or harder as an audience member dependant on who’s side your on.

This play has been well written but I felt the decision on who would get their way in the debate was pretty clear. For me their needed to be a bit more of a redeeming quality in Adam for people to empathise with him and want to give him what he wanted, however that didn’t impact the play too much as it was still an unusual and interesting concept that I enjoyed. There wasn’t an elaborate set or costumes, just pure focus on the story which was very refreshing and the use of voice over’s to control the action was a lovely touch! A.I LOVE YOU is chance for you to really get an insight into a hypothetical but not impossible futuristic story and put questions to yourself on how to deal with the consequences of the decisions you make. Catch it at N16!

Majestic Theatre, Darlington – Reviewed by Andrew Bramfitt

Since 1969 when it was first published, Eric Carle’s The Very Hungry Caterpillar has enthralled children of each and every generation – the illustrations and style have become almost synonymous for educational and entertaining children’s books and set out a blueprint for others to follow. Now his creations have been brought to life on stage by Jonathan Rockefeller and, given the reaction from one particularly young theatre goer, this is a smash hit.

The show actually covers 4 of Carle’s stories, each engagingly told through the use of some amazing puppets, very vivid lighting and lots and lots of movement – my grand daughter who only recently turned 1 sat riveted for most of the show, loving the non-stop action – in fact she only got restless when one of her favourite characters left the stage, standing on mum’s lap to shout for the sea horse to come back.

There is some very clever ideas around painting pictures which then come to life, emerging on stage as full size puppets which just added to the magic of the show and ensured it kept tiny and slightly bigger minds watching and guessing what might happen next.

Of course, the star of the show is the caterpillar and the eponymous final story is a finale to send all the audience, young and old, on their way home feeling very well entertained. There were many comments from parents & guardians afterwards who were surprised by just how engaging it was for the adults as well as the children – I guess we have all read, listened to (or in some cases been) The Very Hungry Caterpillar in our lives.

The Majestic Theatre in Darlington is the perfect venue for this very colourful and visually engaging show; it is intimate, relaxed and ideal to cater for children who might otherwise feel a little intimidated by a more austere theatre. That sense of relaxation spread to the parents too and as such, everyone was able to sit back, kick back and wallow in good old-fashioned story telling brought right up to date.

Disney Pub Quiz (Fundraiser For Wheelchair Access)

at The Majestic Darlington

Friday 23 June at 8.30pm

How much do you really know about your favourite Disney movies? We are raising money for our access fund via lots of events so please come along and support us in your mission to make the arts accessible for all!

The fabulous sister duo Meg & Gillian Campbell will be hosting the quiz and keeping the whole evening running smoothly… like a magic carpet ride 😉

Get your team booked in now as this is a strictly registration only event!

Doors open at 6.30pm quiz starts at 8.30pm

Register your team here http://www.majestic-tickets.co.uk/

Majestic Theatre

Bondgate

Darlington

DL3 7JT

Hen and Chickens Theatre 13 – 24 June.  Reviewed by Claire Roderick

Writer/director AJ’s debut play tackles the issue of child marriage in the UK. At 14, Aisha travelled from her home in Dagenham to Nigeria to be married to a 51-year-old man in exchange for a large dowry. Now 17, Aisha (Laura Adebisi) tells the story of her life with her nameless husband.

Beginning with a poetically gruesome description of nightly rapes and abuse, the play doesn’t shy away from the brutality and viciousness of Aisha’s husband, with a torture scene that is particularly graphic, but completely justifiable in this narrative. Aisha calls her nameless husband her possessor, and talks matter-of-factly about how the man has stripped her of her identity, belongings and relationships. AJ has given Aisha an eloquent voice that conveys the fact that this is an educated modern girl trapped in this antiquated nightmare, and her attempts to liberate her mind through books is a lovely touch.

The play is strongest when Aisha is alone, or having flashbacks and imaginary conversations with her mother (Sabrina Richmond). The play would still be powerful, perhaps even more powerful with some characters and their dialogue cut out. When her husband (Ayo Oyelakin) is silent, or roaring wordlessly at her, the tension and danger is palpable, but his scenes with his obnoxious racist friend add nothing to the narrative and could be cut to create a tighter production. AJ may have wanted to flesh out the man to show what a pathetic little bully he is, but that really goes without saying and the scenes feel like filler. Also, Aisha’s case-worker’s sharing of her own experiences being groomed and abused by older men was a little incongruous. I understand that this is high profile in the public’s consciousness compared to the less spoken about issue of child marriages in the UK, and AJ might want to highlight this inequality but the whole speech just felt tagged on.

Laura Adebisi is unbelievably convincing as the 17-year-old, delivering a moving and fearless performance. The voice that the audience need, and want, to hear is Aisha’s and AJ should have more confidence in this fantastic character to carry the play without extraneous distractions. Some judicious trimming could turn this into a much more coherent and focussed play. Aisha is a brave debut from an exciting new writer, harrowing and heart-breaking, with a stunning performance from Laura Adebisi that deserves a wider audience.

Richmond Theatre 12 – 17 June, touring UK to September.  Reviewed by Claire Roderick

It’s 170 years since Jayne Eyre was published, but Charlotte Brontë’s novel still strikes a chord today with its wonderfully strong-minded and independent heroine. While most adaptations rush through Jane’s early years to get to the love story, this Bristol Old Vic/National Theatre production takes it time, with most of Act one showing the events that mould Jane’s character in delightful detail, dealing with the social and gender issues that the novel highlighted.

Michael Vale’s set design seems incongruous before the show starts, all wooden planks and frames, and lots of ladders. As soon as the cast start moving around, the design makes perfect sense, with the cast constant circling around the platforms and changing levels adding to the momentum of the play. A three-piece band is tucked under one of the platforms playing quirky and haunting music that accompanies the story perfectly. Melanie Marshall is a constant melancholy presence onstage as Bertha, with her magnificent voice providing an extra emotional punch to scenes with some traditional and modern songs. Her mellow rendition of Gnarls Barkley’s Crazy as she burns down Thornfield Hall is spectacularly spine-tingling.

Nadia Clifford plays Jane with enough pent-up energy to light the national grid. She is equally impressive playing the frustrated 10-year-old as she is playing the adult Jane, and makes Jane instantly likeable and sympathetic. Her relationship with Tim Delap’s Rochester doesn’t really have much stage time, but the pair create a powerful picture of love and mutual respect quickly and convincingly without the need for further dialogue. Hannah Bristow, Evelyn Miller, Paul Mundell and Linda Rooke take on a variety of roles and excel in them all. Mundell brought the house down every time he came onstage as Rochester’s dog. Pilot, using no costume but a leather strap as his tail. (I know that sounds slightly naff, but it REALLY works – he’s fantastic!)

Director Sally Cookson has done a fine job squeezing the original two shows into one. Three hours may sound lengthy, but everything that’s left is necessary to the storytelling. The mix of music and movement builds an infectious energy that makes the quieter, still passages even more moving.

You may think you know the story of Jane Eyre, but this production, with its wild, brave energy, brilliant performances and glorious heroine will have something new for you to discover. This adaptation is essential viewing.

National Tour Dates:

19 – 24 June Marlow Theatre, Canterbury

26 June – 1 July Wales Millennium Centre, Cardiff

3 – 8 July Theatre Royal, Newcastle

10 – 15 July Milton Keynes Theatre

17 – 22 July Norwich Theatre Royal

24 – 29 July Theatre Royal, Brighton

31 July – 5 August Grand Theatre, Leeds

28 August – 2 September His Majesty’s, Aberdeen

4 – 16 September Repertory Theatre, Birmingham

Edinburgh Playhouse – until Saturday 17 June 2017.  Reviewed by Linda McLaughlan

With the air electric with anticipation we awaited the performance to begin. The story began as we all know so well from the film production with arrival of the Houseman Family to the prestigious Kellerman’s House. ‘Baby’ (Katie Eccles) took centre stage as we followed her families arrival and their introduction to the staff who would be significant to their visit. The arrival of ‘Johnny Castle ’ (Lewis Griffiths) to the stage did not disappoint as he teased the audience with some formal dance steps as per his role as resort dance instructor. His routine with dance partner Penny Johnson (Carlie Milner) provides us with a small indication of their moves as they fluidly move across the stage.

The story really begins when ‘Baby” helps ‘Billy’ (Jonny’s cousin) “Carry a Watermelon’ and she is introduced to a world of dance she never new existed. The audience is taken along with Baby’s journey of discovery through the well known music accompaniment with songs such as ‘Do you love me’ ‘Wipe out’ ‘Hungry Eyes’. ‘I’ve had the time of my life’. The songs and story are well known by audiences all over the world and it is evident throughout the entire show the impact that the production has on its audience in Edinburgh tonight.

I have to mention the voice of Michael Kent who is a very talented performer which was highlighted in his vocal renditions throughout the night and also the comical performance from Lizzie Ottley who did not disappoint as Lisa Houseman especially during her ‘Hula’ at the end of season show

As for the story progresses and the moves from Lewis Griffiths become more intense leaving everyone breathless with anticipation watching him all that can be said is ‘WOW, WOW, WOW’. He had the audience in the palm of his hand through-out the production and his seductive dance moves and physique had many of the female audience encapsulated in his grasp, wanting to see more and he did not disappoint……a nerve tingling experience which everyone should feel.

I will definitely be back to see more of this exhilarating production and experience more of Johnny Castle in action.

King’s Head Theatre 7 – 25 June.  Reviewed by Claire Roderick

After a sold out run at Finborough Theatre, Arthur Miller’s rarely seen play transfers to the King’s Head. Inspired by true stories of men being rounded up for inspections, a Gentile who gave a Jew his own papers to escape the Nazis and a defiant Austrian noble, Phil Willmott’s production of Miller’s play takes place in a kind of limbo. The stark white set and increasingly unsettling sound effects create a strong feeling of the men being in limbo, helplessly awaiting judgement for an unknown crime.

The men all appear to fit the Nazi’s ubermensch criteria, with a gypsy, a communist, and a gay actor brought in with the Jews. As they sit waiting to be called for inspection, the men, initially cagey, with coded questions about being “Peruvian”, begin to theorise about what the Germans want of them. The men go through denial, insisting that if their papers are good, everything will be fine, but soon start to discuss rumours about work camps, slave labour, and trains taking Jews to die in furnaces. Henry Wyrley-Birch as Leduc, ex-army and psychiatrist, is the mechanism for examining society’s denial of and complicity in such atrocities. Monceau’s (PK Taylor) insistence that European society is too civilised to allow such things, Von Berg’s (Edward Killingback) argument that nobody who appreciates art could commit barbaric acts, and Bayard’s (Brendan O’Rourke) communist view blaming the rise of the Nazis on the rich and upper classes are all shot down in flames eloquently and rationally. Miller doesn’t give Leduc the answers, he just leaves the unpalatable truth hanging in the air, and we get to see some of this worst of human nature onstage too, as the men treat the gypsy with contempt because of his race. In times of hardship, people always need someone to blame. Although Incident at Vichy was written over 50 years ago, Miller’s play resonates today, with Trump’s talk of a Muslim register and nationalism, paranoia and anger simmering around the world. Miller ends the play with an act of redemption and sacrifice that is wholly satisfying and is played with perfect restraint by Killingback and Wyrley-Birch.

The entire cast give utterly convincing performances, with the nervous tension palpable, and the audience beginning to wince with the cast each time the door clangs shut. There are some wonderfully heart-rending moments, mostly involving Daniel Dowling as the 14-year-old boy, and his mother’s ring, but Jeremy Gagan will break your heart as the mute old Jew as the boy is taken away, and on his own exit. A beautiful performance.

Incident At Vichy is a fine production with a wonderful ensemble cast with a theme that resonates today. Well worth a look.

Trafalgar Studios 6 June – 8 July.  Reviewed by Claire Roderick

Richard Bean’s new play is an intimate affair, perfectly at home in Trafalgar Studio 2. Claire Lams plays a woman who married young and was widowed by World War One. She is a thoroughly modern woman trapped by the constraints of the time; and ten years later, in an England missing almost an entire generation of men, she is determined to have a baby. Enter “Dennis” (Ben Lloyd-Hughes), sent by Doctor Trollope as a hands-on sperm donor.

There is lots of comedy to be found in their first meeting, with Dennis trying to remain business-like setting out the rules and parameters of the arrangement, but becoming more and more flustered under the barrage of “Stephanie’s” questions and rambling chatter as she tries to dispel her anxiety.

The pair circle the bed (under the constant gaze of her dead husband’s photo), fully clothed, and full of sexual tension, as she tries to understand his reasons for sleeping with so many women. His survivor guilt about not fighting in the war has made him cling onto Freud’s Eros and Thanatos theory, and when he finally explains, full of conviction that THIS is his war, to defeat death, you begin to see that he is just as broken as the shell-shocked survivors whose wives he impregnates.

Bean’s writing is as sharp as ever, finding comedy in the darkest moments, but not overshadowing the melancholy and despair of the characters’ situations. Lams and Lloyd-Hughes are both utterly convincing and heart-breaking as two people searching for love and affection, and have wonderful chemistry and comic timing.

The set is underwhelming as you wait for the play to start – a bed and a background of oddly angled distressed mirrors. But once the play begins, the concept becomes clear. As the actors move around the stage, wherever they stand, and wherever you sit in the audience, their faces are still visible – enhancing the feeling of being voyeurs in this tiny bedroom where no secrets can stay hidden for long.

Kiss Me is a funny, provocative and engaging play; a millennial Brief Encounter with rum and sex rather than tea and cake. Well worth a look.