Salisbury Playhouse – until 30 June.

Reviewed by Nicky Wyatt

3***

It’s all about the Whisky!!

Allow yourself to be transported back to the 1940’s for this comic tale, which combines the Osiris Players with a real life shipwreck.

Just imagine living on one of two small islands Little and Great Todday. The islands are divided one a protestant and one a catholic separated by The Coolish, the one thing both have in common is their love of Whisky. But there is a war on and supplies have run out no boats are coming with new stocks and the beer has almost run dry too!

The islanders are trying to go about their lives and even plan a couple of weddings but they really do miss the Whisky.

Lady luck was on their side though when there is a shipwreck off the coast with no less that 50,000 bottles on board, all their Christmases have come at once it seems, they just have to get it and avoid the excise men.

Throughout this show I had to keep reminding myself it was set in the 1940’s, when you remember that it’s easy to see the talent that the seven actresses on stage have. Each of them has multiple roles and are rarely off stage. They are all portraying different characters the majority of which are male. I did struggle with some of the accents if I’m honest which at times made it hard to follow.

The scene changes are fun because it’s the cast that are acting them out , I think the best one for me was Paul Waggett( Isabel Ford) driving Fred Odd(Shuna Snow).

Stand out for me was (Sally Armstrong) as Father Macalister she was fab in all her characters. A perfect narrator as very easy to understand unlike some of the others with their accents.

It wasn’t the laugh out loud comedy I was expecting , it felt as dated as it is, more Dad’s Army meets the Village Players. However the real pleasure in this show is the skill of the actresses to pull off so many characters.

GARETH GATES
TO JOIN CONNOR MCINTYRE AND LES DENNIS
IN MUST-SEE FAMILY PANTOMIME, CINDERELLA

Manchester Opera House have today revealed that Gareth Gates will join the cast of Cinderella as Prince Charming, alongside Coronation Street bad boys Connor McIntyre and Les Dennis who were previously announced as the Ugly Sisters.

Gareth Gates rose to stardom in 2002 as runner-up in the UK’s first Pop Idol. In a phenomenal career which followed, he has sold more than 3.5 million records in the UK, released three albums and had four UK number one singles.

Alongside his pop career Gareth has been seen on ITV1’s Dancing on Ice and The Big Reunion 2014 for ITV. Gareth’s theatre career has seen him play Marius in the 25th anniversary tour of Les Misérables for Sir Cameron Mackintosh, as well as roles in Loserville at West Yorkshire Playhouse and the UK tours of Legally Blonde andBoogie Nights the Musical. He has regularly toured in the concert Mad About the Musicals and also starred in the UK tour of Footloose. Gareth opened his new performing arts school, Fates Academy, in Salford Quays last year.

Cinderella will be once again be produced by Qdos Entertainment, the world’s biggest pantomime producer, continuing their partnership with Manchester Opera House following last year’s production of Dick Whittington, which recently won the Manchester Theatre Award for Special Entertainment.

Michael Harrison, Managing Director of Qdos Entertainment’s pantomime division said: “I’m absolutely delighted that Gareth Gates has agreed to bring his singing talent to our Manchester pantomime this Christmas. I’m sure Gareth will be the perfect ally for Cinderella as she battles the formidable Connor McIntyre and Les Dennis in the guise of her ugly step sisters.”

Sheena Wrigley, Theatre Director for the Palace Theatre and Opera House, added “As well as being a terrific singer, Gareth has built an impressive theatre career and also has a great affinity to Manchester, having opened his performing arts academy in Salford Quays last year. He is a fantastic addition to our cast, alongside the previously announced Connor McIntyre and Les Dennis, and we’re excited to present another high-quality production to our audiences this Christmas.”

Don’t miss your chance to see Cinderella, the Fairy Godmother of all pantomimes. The clock is ticking… book your tickets to the Ball today!

PHOENIX DANCE THEATRE RETURN HOME

 

Phoenix at Home 18^th – 20^th October

now on sale

 

It’s been quite a year for internationally-renowned, Leeds-based contemporary dance company, Phoenix Dance Theatre.

Twelve months ago its Artistic Director, Sharon Watson, announced she was creating a first-ever dance piece around the subject of Windrush, the ship that brought the first large group of immigrants from Jamaica to the UK.  It was to mark 70 years since the ship’s arrival in 1948 and went on to be a huge success, lauded by audiences and reviewers alike.  After touring to nine UK venues, a festival in Germany, and a special performance at Tilbury Docks on Windrush Day, Windrush: Movement of the People continues to tour returning to Yorkshire in November this year.

“This last year has been amazing for the company,” says Sharon. “We have toured around the country with Windrush and its supporting Mixed Programme; we met and developed a relationship with Alford Gardner, the only Leeds resident to come to the UK on the SS Empire Windrush 70 years ago, we met the Prime Minister, performed at Tilbury Docks, visited China to promote Leeds and Yorkshire as a cultural powerhouse, and now we’re preparing to head home to Leeds for our annual production Phoenix at Homeat our very own Stanley & Audrey Burton Theatre.”

This is the eighth production of Phoenix at Home; last year saw the company celebrate female choreographers utilising the company’s own talent including a piece by multi-award-winning company dancer Sandrine Monin.

“Female choreographers are few and far between,” Sharon continues. “There are many women at entry level but as you go higher up they disappear –  I wanted to show off our own company’s female talent.”

This year Phoenix will present Robert North’s world-renowned Troy Game.  Described by the New York Times as a ‘funny and sexy romp’, Troy Game is a tongue in cheek parody of male machismo specially re staged for Phoenix to include female dancers.

Sandrine Monin makes a welcome return with an excerpt from her new pieceKirke for which she has again teamed up with composer Roberto Rusconi, and Phoenix Youth Academy take to the stage with colourful and comedic new work Spam choreographed by company dancer Michael Marquez.

“We always look forward to performing in our home city of Leeds,” Sharon concludes. “It’s where we were born and we’re very proud of that.”

Phoenix at Home is at Stanley & Audrey Burton Theatre from

Friday 18^th to Saturday 20^th October 2018 at 7.30pm

with a 2pm matinee on Saturday.

 

Tickets are on sale now priced at £16, £13 concession

 

Book online at www.phoenixdancetheatre.co.uk

or call box office 0113 220 8008

York Theatre Royal until Saturday 30th June 2018.

Reviewed by Michelle Richardson

5*****

Sting’s debut musical The Last Ship has hit York Theatre Royal this week as part of a successful UK tour. Word had certainly gotten around and Sting’s involvement was obviously a big draw, as the theatre was packed out, a great sight to see. Unfortunately, we were hit with a delay of 30 minutes due to technical difficulties, but eventually the show did go on, and what a show it was.

Inspired by Sting’s 1991 album, The Soul Cages, The Last Ship is an account of family, community and defiance, inspired by Sting’s own childhood experiences and the shipbuilding industry in Wallsend. It tells the story of a shipyard facing closure, with one last ship not quite finished, that the authorities just want to break up for scrap. It is at times quite a political piece with a battle of the unions and authorities, harking back to Maggie Thatcher and the miners’ strike. Ultimately though, the workers unite and the last ship will be built.

From the get go the stage is buzzing with the voices of all the cast members singing, along with the powerful stomping that really hits home with a punch, which sets the scene for what is to come, a passionate play about community.

Interlaced with the ongoing political story we see Gideon Fletcher (Richard Fleeshman), a sailor returning after 17 years to his former life and sweetheart, Meg Dawson (Frances McNamee) that he abandoned, and unbeknownst to him, pregnant. Fleeshman has such an amazing rich voice, that I loved hearing him sing. Most of his interactions with McNamee were through song, and she also delivered with her powerful vocals, and she can certainly hold a note.

Another branch of the story is the tale of well respected foreman Jack (Joe McGann) and his wife Peggy (Penelope Woodman). Woodman has stepped into the role as understudy this week due to illness and gives a superb performance as Peggy which I cannot see being surpassed. McGann has that raspiness feel of the working man who is just trying to do the best for all his men, the true leader who inspires.

All the cast are really quite excellent, delivering powerful performances. Katie Moore, who plays Ellen Dawson, the daughter, and delivers the final inspirational speech.

The set, created by 59 productions, appears simple, but really wasn’t, and was very effective. As well as the use of scaffolding, the art of projection is also used to create quick and incredible scene changes, at times quite breath taking.

This is a powerful show that really packed a punch and at times gave me goosebumps. Thoroughly deserving the standing ovation that it received. Grab a ticket if you can before it moves to its last destination at the Lowry in Salford.

Bristol Hippodrome – until 30th June 2018

Reviewed by Lucy Hitchcock

3***

What a feeling? What a Finale!

The 1983 film has been transformed into a dynamic stage show that will leave you wanting to dance.

The show opens with a simple set, but is frequently changed and created into different scenes and parts of the life of Alex, our main role. She is a welder, who desperately wants to dance and so we embark upon her journey of fulfilling her dream.

Joanne Clifton bring Alex to life, with warmth and integrity. There is no doubting that her dancing is impeccable and she truly showcased her talents in this area. Her dancing was solid and she carried the role of Alex very well. There was a certain ‘Calamity Jane’ feel about her portrayal of Alex; She was very independent and strong. With a few major solos throughout the show, Joanne did very well as holding her character even when the notes where clearly out of range. Her voice is strong, but did not fit the Musical Theatre genre as well as it does a pop voice. However, Joanne’s dancing was a real showstopper.

Ben Adams portrayed Nick Hurley, the villainous boss whom we grow to love. Ben was also solid throughout the production, showing some beautiful chemistry with Joanne. Both characters worked brilliantly together and conveyed a true love onstage. The harmonies during ‘Here and Now’ filled the auditorium with passion and energy that lingered until the very end. Ben had a ‘Danny Zucko’ vibe about him, he was confident and loving with a hint of rebellion.

The ensemble carried the show amazingly through the brilliant choreography of Matt Cole. Most of the routines were perfectly synchronised however, there were a few sections that were slightly out of time. Regardless of this, the dancing was fluid and smooth and was the real head turner of the production.

The costume and music was relevant to the time period and worked to create a feel good show!

Despite the minor criticisms I found, this was an upbeat show and will leave you smiling. The finale has definitely got the wow factor, with high speed and intense dance consisting of the whole ensemble, songs that are known by all ages and lights to dazzle and excite you!

Full cast announced for new play Early Birds

by Birds of a Feather writers Maurice Gran and Laurence Marks

The incredible yet true story behind one of the nation’s favourite sitcoms

Edinburgh Festival Fringe – PQA VENUES @Riddle’s Court, 3 – 27 August

The new play Early Birds, from the writers of Birds of a Feather, Maurice Gran and Laurence Marks, which tells the incredible yet true story of the birth of one of the nation’s favourite sit-coms, will play at this year’s Edinburgh Fringe Festival at PQA VENUES @Riddle’s Court (venue 277) from 3 – 27 August (excl. 8, 15, 22) at 18:00.

Early Birds starts with a chance encounter in a West End hotel, and ends with a show considered so saucy it was nearly cancelled two weeks into its run, yet which is about to enter its thirtieth year as a TV comedy classic.

The cast will be comprised of members of the Q Productions Rep Company: Sue Appleby as Lesley/Dorien, Katriona Perrett as Linda/Tracey, Harriet Watson as Pauline/Sharon, Samuel Haughton as Chris/Trix/Gareth, Nick Howden-Seenstra as Laurence, Michael Larcombe as DG/Barman/ Flight Attendant/Tailor, Christopher Lowry as Daryl/Darren/Jonathon, Alastair Natkiel as Maurice Gran, Declan Perring as Cover and Charlie Quirke as Allen/Mr Timms/Eamon. Charlie also plays Travis Stubbs in Birds of a Feather acting alongside his mother Pauline Quirke.

Alongside Birds of a Feather, writers Laurence Marks and Maurice Gran are perhaps best-known for their television classics Shine on Harvey Moon, The New Statesman and Goodnight Sweetheart. Theatre writing credits include Dreamboats and Petticoats, Save The Last Dance For Me and Dreamboats and Miniskirts.

Early Birds will be directed by Alexandra Sumner-Hughes, with sound and light design by Dickson Cossar. It is produced by Q Productions.

To book tickets for Early Birds visit: https://tickets.edfringe.com/whats-on/early-birds

LISTINGS

Title: Early Birds

Category: Theatre (comedy, new writing)

Dates: 3 – 27 August 2018 (excl. 8, 15, 22)

Time: 18:00 (50 minutes)

Venue: PQA VENUES @Riddle’s Court (venue 277) – PQA One

Box office: https://tickets.edfringe.com/whats-on/early-birds

Tickets: 3 and 4 August: £9.00 (£6.50 concs); 5 – 27 August: £11.50 (£9.50/£8.50 concs). 2 for 1 deal on 6 and 7 August.

Suitability: 12+

Access: Wheelchair Access, Wheelchair Accessible Toilets

MAZZ MURRAY TO STAR AS MAMA MORTON WITH MARTIN KEMP AS BILLY FLYNN IN CHICAGO AT THE PHOENIX THEATRE, LONDON

FROM MONDAY 2 JULY 2018

NEW BOOKING PERIOD OPENS TODAY, 26 JUNE 2018

FOR PERFORMANCES FROM 8 OCTOBER 2018 TO 5 JANUARY 2019

Mazz Murray will join the West End cast of CHICAGO at the Phoenix Theatre, playing the title role of Mama Morton from Monday 2 July.  Also joining the cast on 2 July will be the previously announced Martin Kemp as Billy Flynn.  They will join Sarah Soetaert, Josefina Gabrielle and Paul Rider as Roxie Hart, Velma Kelly and Amos Hart respectively.

Martin Kemp will be staying in the London production of CHICAGO until 2 September 2018, with Sarah Soetaert, Josefina Gabrielle, Mazz Murray and Paul Rider staying until 11 August 2018.

A new booking period opens today, Tuesday 26 June, with tickets available for performances from Monday 8 October to Saturday 5 January 2019.

Mazz Murray’s previous theatre credits include nine years as Killer Queen in We Will Rock You (Dominion Theatre), Tanya in Mamma Mia! (Novello Theatre), Mabel in Fame (Victoria Palace), Grandma Bertha in Pippin (Bridewell Theatre) and Dusty Springfield in A Girl Called Dusty (Duke of York’s Theatre).  On television, she has appeared in EastEnders and Footballers’ Wives, and on film in John Boorman’s Hope & Glory and the soon-to-be-released Mamma Mia! Here We Go Again.  She has toured with Earth Wind & Fire and Billy Ocean as part of the band Woman the Band, and with Il Divo as a solo artist.  Her debut solo album, Midnight Mazz, was released earlier this year.

 

The multi award-winning Kander & Ebb musical CHICAGO, winner of six Tony Awards, two Olivier Awards and a Grammy, returned to London’s West End on Monday 26 March, with a press night on Wednesday 11 April at the Phoenix Theatre in London.

 

CHICAGO originally ran in London for 15 years, making it the West End’s longest running revival.  It first opened at the Adelphi Theatre on 18 November 1997 to rave reviews and immediately became a sell-out hit.  CHICAGO won the 1998 Laurence Olivier Award for ‘Outstanding Musical Production’ as well as the 1998 Critics Circle Drama Award for ‘Best Musical’.  CHICAGO transferred from the Adelphi Theatre to the Cambridge Theatre in April 2006, where it ran for five years until 27 August 2011.  The show then opened at the Garrick Theatre on 7 November 2011, where it ran until 1 September 2012.

Since it opened in New York in 1996, CHICAGO has played in 36 countries worldwide, and been performed in English, Dutch, German, Swedish, Spanish, Portuguese, Russian, Italian, French, Danish, Japanese and Korean.  It has grossed over $1.5 billion worldwide and has played over 32,500 performances worldwide, with an estimated 31 million people around the world having seen CHICAGO.  CHICAGO continues to play on Broadway, where it celebrated its 21^st birthday last year, and around the world in multiple languages.  It is the world’s longest running American musical.

CHICAGO, which is based on the play by Maurine Dallas Watkins, has a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb.  The 1996 Broadway revival of CHICAGO was choreographed by Ann Reinking in the style of Bob Fosse, directed by Walter Bobbie, and produced by Barry and Fran Weissler.

LISTINGS INFORMATION

Phoenix Theatre

110 Charing Cross Road

London WC2H 0JP

Box Office: 0844 871 7629 / www.atgtickets.com/shows/chicago/phoenix-theatre

Ticket Prices: From £20.00

Performances: Monday-Saturday 8pm to 23 June, 7.30pm from 25 June, Wednesday & Saturday 3pm

Booking Period:  Booking Until 5 January 2019

Running Time:  2 hours, 25 minutes (with interval)

Website: ChicagoWestEnd.com

Twitter: @ChicagoOnStage

Christmas 2018/19 Performance Schedule

 

Monday 24 December        NO PERFORMANCE

Tuesday 25 December       NO PERFORMANCE

Wednesday 26 December  7.30pm

Thursday 27 December      2.30pm and 7.30pm

Friday 28 December           2.30pm and 7.30pm

Saturday 29 December       2.30pm and 7.30pm

Monday 31 December        2.30pm

Tuesday 1 January 2019    7.30pm

Wednesday 2 January        2.30pm and 7.30pm

Thursday 3 January            2.30pm and 7.30pm

Friday 4 January                 7.30pm

Saturday 5 January             2.30pm and 7.30pm

Darlington Hippodrome – until 30 June 2018

3***

Bill Kenwright’s latest offering is This is Elvis – A New Musical.  Currently touring the UK starring international award winning tribute artist Steve Michaels as Elvis.

This is a show of two halves.  The first half has a semblance of a story line with Elvis performing his 1968 NBC music spectacular, his relationships with his – all unseen – manager, Colonel Parker; his wife Priscilla and baby daughter Lisa Marie.  His reliance on his friends to keep him grounded, his grief for his long dead mother and his love of music.

The second half is a concert style re-enactment of his 1969 triumphant return to Vegas at the International Hotel.

Michaels looks and sounds the part, his ability to ad lib with the audience and to perform in black leather in the sweltering heat were quite impressive.  The audience clearly loved him – with many cries of “We love you Elvis” during the 2nd half concert.

The band were incredibly talented, lead by Steve Geere on Keyboard and aided by the phenomenal Billy Stookes on drums.  But sometimes the band were so loud they drowned out the vocals.

The show did manage to deliver the full range of Elvis’s vocals with gospel, rock and roll, a tribute to the Beatles and Simon and Garfunkle and all his many hits – the second half alone contains over 20 of his hits.

Elvis famously never performed in the UK, so this is a perfect chance for the Elvis fans to have their own recreation of what he might have performed.  If you love Elvis then you will love this show

In Darlington until Saturday on tour around the UK

Greenwich Festival 23rd & 24th June

Review by Heather Chalkley 

5*****

This award winning troupe gave a magical, lyrical, physical performance, with an innocence that belies the expertise and complexity of what they are doing. Belly of the Whale is about our relationship with self and a journey of trust with others to a point where you know they’ve got your back.

The whole performance was centred on and around the rhythm and flow of the rocking set, a spectacular impression of being on a boat inside a whale’s belly, just like Pinocchio! Tina Koch and her creatives have designed a unique piece of equipment and directed an equally unique piece of circus drama. The music underpinned the whole performance, determining the pace of the action and infusing humour at tense moments.

In this mainly non verbal act, the performers, Amanda Homa, Nathan Johnston and Stefano di Renzo used facial expression to great effect, portraying different emotions. This was reflected in their physicality as they moved about the epic set. The opening scene with Johnston’s childlike play on the structure was gentle and fun. Homa’s scene of turbulence was full of grace and jeopardy. Di Renzo was able to combine humour and trepidation with his scenes on the ropes, with flashes of annoyance at Johnston making the audience laugh out loud. Johnston made the final trust scene, with bodies flying everywhere, extra special with his poetry in motion. The distinct characters of each player shone through.

This is a circus performance like no other – I definitely want to see it again!

Renaming and New Season, 22nd June 2018

Leeds Playhouse

Feature by Dawn Smallwood

22nd June 2018 is a significant day for the West Yorkshire Playhouse when it announced that it will change its name to Leeds Playhouse. The theatre was originally known as this name when it first opened in 1970 following a successful campaign that started back in 1964. The theatre hasn’t looked back since and has now revolutionised the theatre industry and is renowned for its widest award winning engagement of arts in the community.

The Playhouse will close its doors after Searching For The Heart of Leeds in June and begin its exciting redevelopment and transformation programme soon after. In the interim, during the 2018/19 season, it will host a Pop-Up theatre programme on the existing site and across local venues and the Playhouse will have an ensemble company of 10 actors which will deliver the full programme of productions.

Jim Cartwright’s Road (5th to 29th September) will begin proceedings and is about everyday lives centring on a forgotten northern street through the medium of poetry. The popular Furnace Festival returns with Selina Thompson’s Salt (2nd to 3rd October) and Charley Miles’ Blackthorn (4th to 6th October) and then there is Leeds Playhouse production of Europe (12th October to 3rd November), written by David Greig and directed by James Brining. Leeds College of Music, The Leeds Library and the Howard Assembly Room will play host to Kash Arshad’s Airplays (23rd to 27th October), Emma Adams’ The Things We Wouldn’t Otherwise Find (6th to 17th November) and Jessica Walker’s Not Such Quiet Girls (29th November to 1st December) respectively. Leeds Schools and the Bradford Alhambra as well as the Pop-Up theatre will look forward to Nick Ahad’s Partition (6th to 10th November).

Christmas will see Charles Dickens’ classic A Christmas Carol (20th November to 13th January), a joint Leeds Playhouse production with Hull Truck Theatre. Ahead of its National Tour Barry Hines’ Kes (25th January to 16th February) returns to The Playhouse in the New Year. There is Debbie Tucker Green’s powerful random and the intergenerational Dinner 18:55 (22nd to 23rd February) which is part of the theatre’s older and youth programmes. One of new season’s highlight must be Leeds Playhouse’s production of Hamlet (1st to 30th March) starring Tessa Parr in the title role and is directed by Amy Leach. During Easter the Pop-Up site and community venues will feature Phileas Fogg Around the World in 80 Days (9th to 28th April) and the season will conclude with Amanda Whittington’s Be My Baby (11th May to 1st June) which is set in the 1960 and explores attitudes around teenage pregnancy and female friendships at the time.

The Leeds Playhouse offers, as before, an exciting season of varied and diverse productions which will appeal to many and address many issues that are so relevant today in many livelihoods and their communities.