Hope Street Theatre, Liverpool – until 21st July 2018

Reviewed by Julie Noller

5*****

Bottleneck is the first production by Hiding Place Theatre. It’s originally written by Luke Barnes. Performed in the new Hope Street Theatre venue, itself steeped in history as an old Masonic Building. Unconventional but highly promising for small upcoming productions to test the waters and find their feet and well worth the effort of keeping an eye on for future productions worthy of your time.

The theatre itself is simple with black wall coverings, black flooring and simple blocks as a makeshift stage. The background is white with Liverpool FC posters and scarves, you could be forgiven for thinking it was many a youngsters bedroom wall. We are introduced to Greg Williams a young lad of 14, ok a few days short of his 15th birthday. He lives in his footie kit, his football isn’t far away, I imagine his bedroom walls and ceiling have a few football shaped marks adorning them. This is 1989 a year many will remember, I anticipated a nostalgia fest – for I was myself 15 in 1989. Be warned Greg’s language is rather blue (I bet he won’t like that being a red through and through) He’s a typical teenager and I found his anecdotal Scouse one liners hilarious. Credit where credit is due Daniel Cassidy is fantastic as Greg, it can’t be easy standing up in front of a Liverpudlian audience to deliver a one man show on a subject as emotive as teenagers and football not to mention one fateful day that changed the lives of an entire city.

You listen to Greg ranting on about Marmite, Quavers (never again will I be able to view a simple cheesy snack in the same way) his Mum having left his Dad. He views life simply; he says he is thick and doesn’t understand why people are scared of his Dad as his Dad isn’t a fighter. But everyone knows him, doesn’t suggest notoriety of years gone by? Greg is a teenager who knows it all without actually fully knowing anything. I found myself leaning forward in my chair watching Greg’s escapades with bated breath. His best friend is asthmatic Tom, reaching for his inhaler in times of panic. Tom is a blue and that’s where the lads banter comes in. Greg wants to be John McClane, he bounces around the set with energy and enthusiasm shooting anyone foolish enough to get in his way.

Tom manages to get 2 tickets from his brother for the match on Saturday (Greg’s birthday) you feel a sense of foreboding, genuinely want to shout don’t go, stay home. But teenagers long for adventure. The action turns somewhat from comedy to action, it steps up a gear as the boys try to work together to get the money to buy the ticket from Greg’s Dad who is trying to instil a sense of worth into his son. As a parent you know its because you can’t be seen to condone anyone stealing and those tickets were stolen. They save lunch money, Greg attempts to help in a local barbers shop but somehow whilst gelling hair to his top lip and flouncing into John McClane mode manages to get himself barred and earning a paltry £3 that’s still £6 short of the £15 ticket price and we won’t mention the Sarah Jane incident and her mothers medicine. They resort to stealing £10 from the burger man. Tom hands over the money to Greg stating he wants his friend to have it all as it’s his birthday. He can even get a muzzie implant if he wants. They manage to throw a stone and smash a police car sorry the bizzies. Which results in the belt, grounding and no happy birthday for Greg.

Daniel manages to switch characters extremely well you fully follow him on this journey, his accent changes are a good break, the pauses remind you that time often stops especially when you’re a bored teenager. You don’t want Greg to creep into his Dads room and take the ticket, to shimmy out of his bedroom window. He shouts abuse at his Dad says ‘see you later’. Never leave angry, never leave in hatred is something we learn as we’re older. Greg and Tom are small they make their way through the crowd in Sheffield, manage to get to the front they are joking and laughing glad to be there. But as I become aware of the people around me, no longer laughing, I become aware I’m holding my breath, my hand is clasped to my face. A man is clearing his throat of emotion and my friend is already weeping. This is still a raw emotion here in Liverpool for many the memories of that fateful day will stay with them forever. It was delivered with perfect clarity and timing the sense of bewilderment and anger building in one so young, to feel the confusion, no sense of being alive or dead. You want to scoop him up tell him he’ll be ok. Trauma is dealt with differently these days but then it was still a mentality of get on with it. You can’t see any broken bones but you do feel a broken teenager, one who lost his best friend and has to learn how to deal with that too. I felt shellshocked when the play ended, utterly amazed at how the memories came flooding back to me, as a Liverpool supporter I had turned the tv on that April day, to see if I could spot people I knew as well as cheer my team on. My Uncle never went to another Liverpool game again, his story was heartbreaking, friends in school we were glad to see return. We talked about how breathtakingly good Bottleneck is during our trainride home. We spoke about football – yes 2 middleaged women sharing stories and remembering that one day nearly 30 years ago. Don’t be put off watching Bottleneck because of the emotional subject but go and enjoy it’s pure brilliance, packed into just 60 minutes, oh and take tissues.

Grand Opera House York – until Saturday 21st July 2018.

Reviewed by Michelle Richardson

5*****

For me and my son this is “our” film, the 2007 one that is, though I thoroughly enjoyed the previous, 1988 version. So, when I first found out that Hairspray was coming to York I couldn’t wait. Unfortunately for my son he was unable to attend because he’s travelling around Europe, lucky thing. Would it live up to my expectations, or would it be a huge disappointment?

It’s 1962 in Baltimore, where racial segregation is the norm. Tracy Turnblad (Rosie O’Hare) is a big girl with big hair, who dreams of dancing on national TV on the Corny Collins Show and swoons over heartthrob Link Larkin (Dan Partridge). After skipping school she manages to audition, much to the disgust of the thinner girls and Velma Von Tussle (Lucinda Lawrence), producer of said show, who rejects her because of her size. Undeterred she overcomes the hostility, winning over Corny Collins (John Tsouras) to become one of the dancers, using her new found fame to fight for equality for all in a time of racial segregation.

The set and costumes, designed by Takis, were colourful, garish and indicative of the 1960’s. The streets of Baltimore, Tracy’s house, TV studio and not forgetting the jailhouse, changed seamlessly throughout.

The whole cast were really very good, superb in fact. When you thought that the singing could not get any better, someone else would step up and wow you all over again. A highlight is Brenda Edwards as Motormouth Maybelle singing I Know Where I’ve Been, outstanding. The choreography, by Drew McOnie, was non stop and full of high energy, delivered by great performers.

I loved the relationship between Edna (Matt Rixon) and Wilbur (Graham MacDuff), Tracy’s parents. During one scene there was a prop malfunction and they both ad-libbed superbly and had us all in stitches. They carried on this amazing rapport to the end, occasionally succumbing to a fit of giggles themselves, brilliant!

My only real criticisms were that O’Hare had the need to wear a fat suit, I was disappointed with that, and that Tracy and Link did not show enough chemistry together, but O’Hare and Partridge have both recently taken on the roles and this may change over time. These things did not detract at all from this feelgood show.

By the end of the night the cast had a standing ovation and the majority of the audience were up on their feet dancing and singing along, I needed no encouragement on that part.

It was such a fun, energetic show, where everyone shone, with some powerful moral messages. I loved it, certainly lived up to my expectations and I left on such a high. Now where is my dvd?

You can’t stop the beat, so get on down to the Grand Opera House whilst you can, you will not be disappointed.

DEAFINITELY THEATRE AND NEW DIORAMA THEATRE ANNOUNCE NEW PRODUCTION OF

SARAH KANE’S 4.48 PSYCHOSIS INCLUDING FULL CAST

 

Deafinitely Theatre and New Diorama Theatre present 

4.48 Psychosis

By Sarah Kane

 

Director: Paula Garfield; Designer: Paul Burgess; Lighting Designer: Joe Hornsby

Composer & Sound Designer: Chris Bartholomew; Visual Consultant: Alim Jayda

Voice Coach: Elspeth Morrison

New Diorama Theatre

18 September – 13 October 2018

Deafinitely Theatre and New Diorama Theatre today announce a new production of Sarah Kane’s 4.48 Psychosis. Artistic Director of Deafinitely Theatre, Paula Garfield, directs Adam Bassett, Brian Duffy, Jim Fishand Matt Kyle. Opening at New Diorama Theatre on 21 September, with previews from 18 September and running until 13 October.  The production then tours to Derby Theatre from 19 – 20 October.

“I had a night in which everything was revealed to me.

How can I speak again?”

 

The early hours of the morning. You’re alone, with only your thoughts. How did you get here? And how do you get out? Sarah Kane’s searing, final play in a ground-breaking new production from Deafinitely Theatre.

 

Award-winning Deafinitely Theatre bring its celebrated bilingual approach to Sarah Kane’s lyrical and haunting final play about mental health.

 

Directed by Paula Garfield, 4.48 Psychosis is performed in British Sign Language and spoken English for the very first time.

 

In addition Deafinitely Theatre will run a training and education programme to accompany the production, including post show talks, panel discussions and access to additional resources. Further details to be announced.

4.48 Psychosis contains strong language and explores issues of mental health, depression and suicide. Recommended age: 16+

Sarah Kane was born in 1971. Her first play, Blasted, was produced at the Royal Court Theatre Upstairs in 1995. Her second play, Phaedra’s Love, was produced at the Gate Theatre in 1996. In April 1998, Cleansed was produced at the Royal Court Theatre Downstairs, and in September 1998, Crave was produced by Paines Plough and Bright Ltd at the Traverse Theatre, Edinburgh. Her last play, 4.48 Psychosis, premièred at the Royal Court Jerwood Theatre Upstairs in June 2000. Her short film, Skin, produced by British Screen/Channel Four, premièred in June 1997. Sarah Kane died in 1999.

 

Adam Bassett’s credits for Deafinitely Theatre include Love’s Labour’s Lost and A Midsummer Night’s Dream(Shakespeare’s Globe). Other theatre credits include Up ‘n’ Under (UK tour); and for television, Small World.

Brian Duffy’s credits for Deafinitely Theatre as an actor include Love’s Labour’s Lost (Shakespeare’s Globe) and Boy and The Statue (Tricycle Theatre); and as a Visual Consultant on Contractions (New Diorama Theatre).

Jim Fish’s credits for Deafinitely Theatre include Two (Southwark Playhouse) and Gold Dust (Soho Theatre). His other theatre credits include The Winter’s Tale, King Lear and The Lion, the Witch and the Wardrobe (RSC), Day By Night (The Albany), Seven Jewish Children (Hackney Empire), The Tempest (Nottingham Playhouse), Body Checks (Yvonne Arnaud Theatre), Transmissions (Birmingham Rep) and La Cage Aux Folles (UK tour). For film his credits include The Con is On.

Matt Kyle’s credits for Deafinitely Theatre include En-Route (Park Theatre). His other theatre credits include Fatherland (Lyric Hammersmith), Voices from Home (The Old Red Lion) and The Secret Life of Sally (Southwark Playhouse).

 

Paula Garfield directs. For Deafinitely Theatre she has directed Contractions – which won the Off West End Award for Best Production, Two Chairs, Motherland, Children of a Greater God, Playing God, Double Sentenceand Gold Dust. She also devised and directed The Boy and the Statue for Deafinitely at the Tricycle Theatre and on a London schools’ tour.  Garfield has directed two productions at Shakespeare’s Globe – Love Labour’s Lost, for the Globe to Globe Festival as part of Deafinitely’s 10th anniversary, and A Midsummer Night’s Dream.  Her other directing work includes Tanika’s Journey (Southwark Playhouse) Grounded (Park Theatre).

An actor, director, workshop leader and organiser, Garfield has worked on a variety of television, film and theatre projects over the past fifteen years. In 2002 she established Deafinitely Theatre with Steven Webb and Kate Furby after becoming frustrated at the barriers that deaf actors and directors face across the arts and media. She has produced and directed many plays and worked extensively in TV, including Channel Four’s Learn Sign Language, Four Fingers and a Thumb, BBC’s Hands Up and Casualty, plus appearances in every series of the BBC’s deaf drama, Switch.

 

This production is made by possible by the generous support of:

Arts Council England, Autograph Sound Recording, Edwardian Hotels London, New Diorama Theatre, Old Diorama Arts Centre, The 29th May 1961 Charitable Trust, Wellcome and Whitelight Ltd.

 

 

4.48 Psychosis

Listings

 

New Diorama Theatre

18 September – 13 October 2018

Box Office: 0207 383 9034

www.newdiorama.com

 

 

Derby Theatre

19 – 20 October 2018

Box Office: 01332 59 39 39

www.derbytheatre.co.uk

PIRATES!

THE MUSICAL DANCE SPECTACULAR OF

GILBERT & SULLIVAN’S PIRATES OF PENZANCE

TO OPEN IN THE UK IN 2019

Bruce Robert Harris and Jack W. Batman, New Level Productions and Julian Stoneman are delighted to announce a new and vibrant revival of Gilbert and Sullivan’s hugely popular The Pirates of Penzance.  PIRATES!, a bold reinvention of their universally renowned and celebrated show loved by audiences the world over, is conceived, directed and choreographed by Daryl Gray, and will open in the UK in 2019.

140 years after The Pirates of Penzance was first performed, perhaps the most famous comic opera ever written in English is being reimagined by Daryl Gray as a danced-through musical, with new arrangements and orchestrations by Grammy Award-winner Steve Sidwell.

Set on the Cornish coast, Frederic, a pirate apprentice has turned 21 and reminds the pirate king that his apprenticeship is over and, at noon, he will no longer be under obligation to the pirates.  On the same day, he meets and falls in love with Mabel, the youngest daughter of Major-General Stanley, the enemy of the pirates.  To add to Frederic’s woes, he learns that, because he was born on 29 February during a leap year, he has, in fact, only served five of his birthdays and so is still under contract to the pirates.  After various hilarious mishaps and battles, Frederic wins Mabel, and everyone lives happily ever after.

Daryl Gray began his career as an actor and dancer.  On Broadway, he appeared in Bob Fosse’s Dancin’ and was a soloist in On Your Toes.  He also appeared with Maurice Béjart and as a guest artist with numerous dance companies both in the US and around the world.  As well as directing and choreographing for musical theatre, he has created original works for the concert stage, including for Joffrey, Brooklyn Academy of Music and American Ballet Theater Workshop. His choreography has also been featured by the NY City Opera, Live From Lincoln Center PBS TV, Béjart Ballet of the 20th Century, Les Ballets Jazz de Montréal and Batsheva Dance Company of Israel, amongst others. 

PIRATES! will be directed and choreographed by Daryl Gray and designed by Morgan Large, with lighting by Ben Cracknell, sound by Terry Jardine and Luke Swaffield for Autograph Sound, orchestrations & arrangements by Steve Sidwell and casting by Gabrielle Dawes, CDG.

PIRATES! will be produced in the UK by Bruce Robert Harris and Jack W. Batman and New Level Productions, with Julian Stoneman as Executive Producer, for and on behalf of Pirates! Musical UK Limited.

Two-time Tony Award-winners Bruce Robert Harris and Jack W. Batman have produced over 50 plays and musicals since forming their producing partnership in 2005. Their upcoming shows include Magic Mike Live in London and Broadway shows American Son starring Kerry Washington and Tootsie.  Their current productions include Carousel on Broadway.  Past Broadway shows include Present Laughter starring Kevin Kline, Natasha, Pierre and the Great Comet of 1812 starring Josh Groban, Pippin (Tony Award for Best Musical Revival, Drama Desk Award, Outer Critics Circle Award, Drama League Award), Clybourne Park (Pulitzer Prize, Tony Award for Best Play), Nice Work If You Can Get It and I Am Harvey Milk starring Kristen Chenoweth.  In London, past productions include The Scottsboro Boys (Critics’ Circle Award for Best Musical, Evening Standard Award for Best Musical), By Jeeves and My Trip Down The Pink Carpet.   

For further information on PIRATES!, please visit

Website – www.pirates.uk.com

Facebook – https://www.facebook.com/piratesukshow / @PiratesUKShow

Twitter – https://twitter.com/piratesukshow / @PiratesUKShow

Instagram – https://www.instagram.com/piratesukshow/ / @PiratesUKShow

Park Theatre – until 11th August

Reviewed By Adam Craddock

6 Stars!!! (Yes, 6!)

In the week of Donald Trump’s visit to the UK and the looming Brexit negotiations, End of the Pier’s darkly comic take on modern Britain’s attitudes to immigration and race punches exactly at the deep lying sore points that we all have and need to be addressed. Following Bobby, a 1970’s music hall style comedian, and his son Michael, a modern comedian trying to get away from his father’s dark legacy, End of the Pier really gets in to the psychology of why some people are racist and just what lengths they will go to to feel this superiority over their peers.

Les Dennis, in the role of Bobby, was absolutely phenomenal. With impeccable comic timing throughout that had the audience rolling around in stitches at his one liners and physical gags, this was a Dennis performance that matched any of his best for comedy that I have seen. However, what I was not expecting was just how well he can handle the dark and gritty material too and have us all in shock when he finally snapped with his son. Tala Gouveia was fabulous as Jenna, delivering a real gut punch with her monologue to Bobby and showing just how much a simple “bit of banter” can affect someone’s life. Nitin Ganatra was hilarious as Mohammed, playing with racial stereotypes brilliantly and showing that just because of the colour of someone’s skin, or where they are from, that doesn’t mean they are any different than you, and who knows… they could be even better than you. However, my absolute highlight of the night was Blake Harrison as Michael. After seeing him in so many comedic roles before I thought this was just going to be another standard laugh along character, but how wrong I was. Showing a man at odds with himself and trying to supress his dark side, Harrison was absolutely phenomenal in showing a man’s life spiral apart right before his very eyes and, in one last cruel twist of fate, he delivered a desperate punt that not only wrecked his own life, but all the others around him. This performance was quite frankly one of the single best acting performances that I have ever seen.

Danny Robins’ new show is a once in a lifetime piece, a show that you simply can not pick fault with. From it’s superb directing, flawless cast and deeply psychological plot, this may be that famed anomaly… The perfect show. My only thing to say to you is this: Get to End of the Pier while you can because this will soon be the hottest ticket in town.

CURVE ANNOUNCES LATEST SEASON OF THEATRE

INCLUDING CO-PRODUCTION OF

TO KILL A MOCKINGBIRD

 

Curve has revealed a host of new productions coming soon to its stages in Leicester, including a Made at Curve drama.

The theatre, which this year celebrates its 10th birthday, will be joining forces with Jonathan Church Productions and Regent’s Park Theatre to bring Harper Lee’s Pulitzer prize-winning novel To Kill a Mockingbird to Curve from 7 – 16 Feb 2019.

Adapted for the stage by Christopher Sergel, To Kill a Mockingbird received critical and audience acclaim at the Regent’s Park Theatre, where it played for two sell-out seasons from 2013 – 14 and subsequently enjoyed a month-long residency at the Barbican.

 

Curve has also announced the line-up so far for its 5^th annual Inside Out Festival in October, which celebrates the diversity and talent of East Midlands artists.

Leading the festival will be a production of award-winning playwright Ché Walker’s The Frontline, twelve stories of heartbreak in a bustling city performed by the graduates of Curve’s new actor training programme New Theatre Talent, supported by the Andrew Lloyd Webber Foundation. First produced as a sell-out at Shakespeare’s Globe, this drama will be directed by Curve’s Associate Director Suba Das and will be performed 17 – 20 Oct 2018.

Commenting on the new season at Curve, Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:

“Curve is 10 years old and we’re thrilled to be entering our next decade with curiosity, adventure and ambition, bringing plays, musicals, dance and an eclectic mix of community projects to our stages.

 

“It’s a pleasure to be co-producing with our friends at Regent’s Park Theatre and Jonathan Church Productions to bring Harper Lee’s era-defining story of racial inequality and social injustice To Kill a Mockingbird to Leicester. It is a story which challenges, inspires and entertains, feeling as relevant today as when it was first published.

“Our Inside Out Festival once again showcases some of the most exciting new work in a region rich with astonishing talent. Alongside an eclectic festival which challenges our turbulent times, we are proud to present our talented Andrew Lloyd Webber Foundation students in Ché Walker’s explosively entertaining play The Frontline.

 

“Alongside our upcoming Made at Curve productions of Fiddler on the Roof, Memoirs of an Asian Football Casual, Irving Berlin’s White Christmas and Dr Seuss’s The Cat in the Hat, we couldn’t think of a better way to kick-off our next decade!”

Also announced are productions of playwright Katori Hall’s Olivier Award-winning play The Mountaintop (13 – 17 Nov), based on the final night of Martin Luther King’s life, Ghost the Musical (28 Jan – 2 Feb 2019) and Northern Ballet’s Victoria (2 – 6 Apr 2019).

The new season went on sale to Curve’s Friends and Supporters on Mon 16 Jul, to Members and Groups on Tue 17 Jul and general sale on Fri 20 Jul. Tickets can be purchased online at www.curveonline.co.uk, in person at Curve’s Ticket Office or over the phone on 0116 242 3595.

National Theatre announces new season of talks and events

To accompany the new season of productions, a programme of talks and events will begin with a series relating to Antony and Cleopatra. Director Simon Godwin will reflect on the production, andRalph Fiennes and Sophie Okonedo will discuss the challenges and rewards of appearing in the production. Professor of Classics Edith Hall will give A Short History of the Roman Empire and author Lucy Hughes-Hallett will look at the many variations on Cleopatra’s legend at Cleopatra, Queen of Egypt. Actor Tim McMullan will also reflect on playing Enobarbus. A more in-depth session focussing on the making of this production will be offered at Exploring Antony & Cleopatraat the NT whilst Setting the Scene: Antony & Cleopatra will offer an introductory step-by-step guide to the story.

Events relating to Hadestown include an opportunity to hear Director Rachel Chavkin and Writer Anaïs Mitchell reflect on their production whilst Dr Lucy Jackson will explore how myths were made and remade in Ancient Greece, and how that tradition of retelling myths continues today, at Modern Myths: Orpheus, Eurydice and Us. At Histories of the American Musical, Professor of Musical Theatre Millie Taylor will host a relaxed evening telling stories about the development of American musical theatre illustrated with live musical demonstrations. Marina Warner will then explore myths and stories in which female protagonists face demons and confront death by journeying to the underworld at The Heroine’s Descent with Marina Warner.

War Horse related talks will begin with Animals in the Great War, which will study the experience of creatures great and small during World War One through the archival images held by Mary Evans Picture Library. Writer Michael Morpurgo will then reflect on his motivations and experiences of writing the novel and Inside the Horse: Exploring the War Horse Puppets will reveal the secrets of the extraordinary puppetry the show. There will also be a film screening of The Battle of the Ancre and the Advance of the Tanks, the official film of the British Army’s autumn campaign on the Somme.

In relation to I’m Not Running, Writer David Hare will give a talk on his new play and Actors Sian Brooke, Alex Hassell and Joshua McGuire reflect on the challenges and rewards of performing the roles of Pauline, Jack and Sandy. Exploring I’m Not Running will then look at the themes of the play and the practicalities of putting together the production, with insights from cast members and academics. Two MPs will also discuss their experiences of parliament at two talks; Nick de Bois: Confessions of a Recovering MP and Jess Phillips: One Woman’s Truth About Speaking the Truth.

Director and Writer Peter Brook will begin the series of events related to The Prisoner, as he reflects on the play, co-written and co-directed by him and his long-time collaborator Marie-Hélène Estienne. His work will then be studied, with contributions from academics and theatre-makers, atExploring the Work of Peter Brook. Finally, Professor John Tasioulas will explore philosophical arguments around justice at Adding Suffering to Suffering: Justice, Punishment and Repentance.

Talks relating to Stories include The Unknown Parent, which will look at personal perspectives around the decision to use a sperm or egg donor and Race and Reproduction whilst will examine the different pressures and prejudices regarding infertility depending on the community you come from. Both these talks are programmed in association with Fertility Fest.

In relation to Tell-Tale Heart, journalist, broadcaster and theatre critic Aleks Sierz will explore the various incarnations of Murder on Stage and Professor of Literature and Culture Catherine Spooner will explore how gothic influences have permeated the stage, screen and visual arts at Exploring the Gothic in Culture. Director Anthony Neilson will also discuss his adaptation of the show and there will be a film screening of Tales of Terror.

To accompany the series of rehearsed readings as part of Courage Everywhere, a Courage Everywhere Pop-Up will see a takeover day of arts activities, talks and screenings. Naomi Paxton will also explore her research and curation of the exhibition Courage Everywhere: Women, Theatre and Politics at Exhibition Insight with Curator Naomi Paxton and also talk about the stories she has discovered from the history of suffrage theatre and activism at Activism in the Archives: Finding Stories of Suffrage Theatre. A panel featuring young women up and coming in their professions will unpacking how women’s contribution and voices impact society at Hear Her Roar: Where Are Women’s Voices? and Allie Esiri and guest actors will take us on a journey through women’s poetry at Women Poets Through the Ages with Allie Esiri.

For more information, and to book tickets for these events, visit the NT website.

Listings

Director Simon Godwin on Antony & Cleopatra Mon 1 Oct, 5.30 – 6.15pm, Olivier, £7/£5

Ralph Fiennes and Sophie Okonedo on playing Antony and Cleopatra Fri 11 Jan, 3 – 4pm, Olivier, £7/£5

A Short History of the Roman Empire Fri 7 Dec, 5.30 – 6.30pm, Cottesloe Room, £7/£5

Cleopatra, Queen of Egypt Wed 16 Jan, 5.30 – 6.30pm, Cottesloe Room, £7/£5

Tim McMullan on Playing Enobarbus Thu 29 Nov, 6 – 7pm, Cottesloe Room, £7/£5

Exploring Antony & Cleopatra at the NT Mon 10 Dec, 10am – 3.30pm or 11.30am – 5pm, Clore Learning Centre, £55/£40/£15

Setting the Scene: Antony & Cleopatra Tue 16 Oct, Wed 5 Dec or Thu 10 Jan, 5.30 – 6.30pm, Cottesloe Room, £7/£5

Director Rachel Chavkin and Writer Anaïs Mitchell on Hadestown Mon 12 Nov, 6 – 6.45pm, Cottesloe Room, £7/£5

Modern Myths: Orpheus, Eurydice and Us Tue 22 Jan, 6 – 7pm, Cottesloe Room, £7/£5

Histories of the American Musical Fri 30 Nov, 7 – 9.15pm, Cottesloe Room, £15/£12/£7.50

The Heroine’s Descent with Marina Warner Fri 14 Dec, 6 – 6.45pm, Olivier, £7/£5

Animals in the Great War Fri 9 Nov, 6 – 7pm, Cottesloe Room, £7/£5

Writer Michael Morpurgo on War Horse Tue 20 Nov, 5.45 – 6.30pm, Lyttelton, £7/£5

Inside the Horse: Exploring the War Horse Puppets Thur 22 Nov, 5.45 – 6.30pm, Lyttelton, £7/£5

The Battle of the Ancre and the Advance of the Tanks (film screening), 67 mins, PG Mon 19 Nov, 6 – 7.10pm, Cottesloe Room, £5/£3

Writer David Hare on I’m Not Running Mon 3 Dec, 6 – 6.45pm, Lyttelton, £7/£5

Actors Sian Brooke, Alex Hassell and Joshua McGuire on I’m Not Running Tue 15 Jan, 3 – 4pm, Lyttelton, £7/£5

Exploring I’m Not Running Thu 29 Nov, 2 – 5pm, Cottesloe Room, £30/£20/£7.50

Nick de Bois: Confessions of a Recovering MP Fri 11 Jan, 6 – 7pm, Cottesloe Room, £7/£5

Jess Phillips: One Woman’s Truth About Speaking the Truth Fri 11 Jan, 7.30 – 8.30pm, Cottesloe Room, £7/£5

Director and Writer Peter Brook on The Prisoner Fri 14 Sep, 9.30 – 10.30pm, Dorfman, £7/£5

Exploring the Work of Peter Brook Mon 24 Sep, 2 – 5pm, Cottesloe Room, £30/£20/£7.50

Adding Suffering to Suffering: Justice, Punishment and Repentance Mon 24 Sep, 6 – 7pm, Cottesloe Room, £7/£5

The Unknown Parent in association with Fertility Fest Wed 7 Nov, 6 – 7pm, Cottesloe Room, £7/£5

Race and Reproduction in association with Fertility Fest Wed 14 Nov, 6 – 7pm, Cottesloe

Murder on Stage Thu 13 Dec, 6 – 7pm, Cottesloe Room, £7/£5

Exploring the Gothic in CultureTue 9 Jan, 6 – 7pm, Cottesloe Room, £7/£5

Director Anthony Neilson on The Tell-Tale Heart Mon 7 Jan, 6 – 6.45pm, Dorfman, £7/£5

Tales of Terror (film screening) Director Roger Corman, 1962, 84 mins, 15 Mon 17 Dec, 5.30 – 7pm, Cottesloe Room, £5/£3

Courage Everywhere Pop-Up Sun 18 Nov, 12 noon – 7pm, Clore Learning Centre, £10

Exhibition Insight with Curator Naomi Paxton Sat 17 Nov, 11.30am – 12.30pm, Lyttelton Lounge, £3

Activism in the Archives: Finding Stories of Suffrage Theatre Thu 15 Nov, 6 – 7pm, Cottesloe Room, £7/£5

Hear Her Roar: Where Are Women’s Voices? Fri 23 Nov, 5.45 – 6.45pm, Dorfman, £7/£5

Women Poets Through the Ages with Allie Esiri Fri 16 Nov, 6 – 6.45pm, Dorfman, £7/£5

There but for the grace of God (go I)
Soho Theatre, 21 Dean Street, London W1D 3NE
Monday 6th – Wednesday 8th August 2018, 7pm

In 1983, Adam Walsh went missing from a Hollywood shopping mall and quickly became the most famous missing child in American history. In 2017, a man called Adam Welsh googled himself and found Adam Walsh. This incident prompted him to write an intriguing semi-autobiographical debut solo show There but for the grace of God (go I) which runs for a limited number of performances this August

This honest and humane production highlights the vulnerability of children and questions how any of us really survive childhood. Through conversation, live re-enactment, song, home videos, poetry and even Lego, Adam Welsh reflects on the care parents have for their children, but how they can’t always help them. It is a meditation on how tragedy can render the world meaningful, an investigation into not being dead, yet.

There but for the grace of God (go I) playfully shifts from initial light-hearted irritation to expose the investigation into Adam Walsh’s disappearance and the connections between this child and a young actor searching for meaning in obscurity, unexpectedly forced to examine his own life.

Adam Welsh comments, True Crime often tends to play into our need for certainty, for answers, and often when there are none. I very much felt this way about my own past. While I was lucky enough to survive childhood, big questions seemed to hang over those early years. I rather unashamedly used the show as an excuse to ask my parents these questions directly. I found that the show provided a useful context for me to have difficult conversations with them that I don’t think we
would have otherwise had. Everything in the show comes from something that has actually been said – sort of verbatim theatre – I wanted to make something that felt very real, that had verisimilitude, but also something that was theatrical and affecting. It’s a big responsibility using other people’s words and real-life stories.

This show was originally commissioned and supported by Camden People’s Theatre, ARC, Stockton and Arts Council England.

Lyceum Theatre, Sheffield –  until 21st July 2018.

Reviewed by Sophie Dodworth

3***

Michael Jackson is often referred to as the King of Pop and was one of the worlds greatest entertainers. His genius spanned four decades of hit songs, videos, albums and concerts which saw him sell over 750 million records, with the Thriller album still being the best selling recording of all time. Thriller Live continues its West End run and world tour as a tribute to his memory and a celebration of his work. This show includes over two hours of non-stop hit songs from his incredible career.

This production is suitable for all age groups as the songs take you through a time line of Jacksons hits, from the earlier Motown days though to his later hits, such as Earth Song. Throughout the show, the lead performers narrate his story to deliver the information needed about the crucial albums and hits.

This show explodes electric energy in to the audience right from the start in the form of lights, costumes and dance. This energy is not evident in all the performers though. One of the lead performers comes across as not all that committed which is a real shame considering the gust and efforts of the majority.

The four lead performers (Ina Seidou, Britt Quentin, Shaquille Hemmans and Rory Taylor) have outstanding voices. Listening to Rory Taylor during ‘She’s Out Of My Life’ makes the hairs on the back of your neck stand up; Rory has a real wide range to his sweet tones. Ina Seidou really steals the show as the unforgettable performance, with her charismatic qualities, superb voice, energy and soul from beginning to end.

Frustratingly, however, Eddy Lima who acts as a fifth lead vocalist and styled to imitate Jackson exactly, appeared to be miming. He only had a minimal amount of songs but they were some of the most famous, including ‘Bad’. His dance moves and mannerisms were so alike Jacksons that during ‘Smooth Criminal’ you could have been led to believe that it was actually him. A little bit of a shame considering that most of the audience were coming to see someone imitating Jackson but all they got was dancing from this headliner.

The backing dancers and singers were full of energy and life, pumping colour and talent in to this tour…choreography by Gary Lloyd was knock out quality, replicating the original dance moves of Jackson during his stage performances and videos. However, not all the dancers were together 100% of the time which was a shame as visually, that is what this show is about.

Maybe the show needs a bit of a revamp if it is to carry on and move forward, it certainly needs a tighten up. However, this show is certainly a must-see for any dedicated Michael Jackson fan. It is a great night out and will have you on your feet or tapping your toes.