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.

Jack Studio Theatre 6 – 24 June.  Reviewed by Claire Roderick

Edgar Allan Poe is one of those marmite writers, you either let the florid meandering prose envelop you, or you shake your head and wonder exactly what he had taken before putting pen to paper. The Okai Collier Company’s adaptations take inspiration from the Corman films of the 1960s, fleshing out the plot with characters not in the original stories. Let’s be honest, the original Masque reads like a nightmarish estate agent’s blurb and is a theatrical non-starter.

Simon James Collier’s adaptation of The Masque of the Red Death begins atmospherically enough, with a description of the devastation caused by the disease given by the grotesquely grinning and unsettling Jester (Anna Larkin). Prince Prospero has invited his friends to sit out the Red Death in his castellated abbey, and as the country burns and dies, the rich and privileged dance and play. A bit like an apocalyptic version of Made in Chelsea really. Through whispered conversations between the nervous guests and encounters with Prospero, the horror of the disease, and the ruthlessness of Prospero’s methods to deal with it, are revealed. The guests’ secrets are used against them by the Satan worshipping prince (Cristinel Hogas) who intimidates with smiles and gentle but malevolent words. Omar F. Okai has steered away from the camp grotesquery of the film versions, but the story just isn’t that gripping, and a lot of the character detail feels like filler before the big finale. The cast do a fine job, when you can see them. I know the double bill sets restrictions on set design, and the bare, black space creates a wonderful claustrophobic feeling, but the fog and dim lighting are a bit overdone in some parts, making it very hard to see the actors. The final confrontation with the Red Death is competent enough, given the restrictions of the production, but I was a little underwhelmed. It may be because I’ve watched too many police shows, but, rather than being a terrifying spirit, the Red Death sounded more like a third-rate villain making a ransom demand. But this was balanced out by the use of the Jester in the final scene – very effective.

The Fall of The House of Usher is more successful, with Adam Dechanel using the ghosts, Bristol and the Winthrop character from the film. Winthrop’s fiancée Madeline was snatched from him before their wedding, and he has followed her to her ancestral home. There he encounters her brother Roderick Usher, and learns that Madeline and her brother are sick. Roderick is frantically carrying out experiments on the last remaining corpses of his dead relatives to find a cure, helped by servant Bristol. The ghosts of these relatives act as a weird Greek chorus, spitefully tormenting Winthrop and Bristol, but tenderly soothing Madeline’s tormented sleep. The malady that afflicts the Ushers is illustrated brilliantly, with raised voices triggering lights, piercing noise, and spasming from Madeline. The link between the madness and sickness of the Ushers and their home is given a new twist in a nod to the double bill, which works well. Maud Madlyn ramps up the tension and feeling of unease with great skill. Nell Hardy is phenomenal as Madeline – her physicality bringing gasps and hand over mouth moments from some audience members. Zachary Elliott-Hatton’s take on Roderick Usher is full of layers, petulant and controlling, and wonderfully nuanced in the differences between touching the living and the dead. Very creepy – like Max Schreck with jazz hands.

A mostly successful production of Poe adaptations, atmospheric and unnerving, and filled with great performances.

Park Theatre 1st -24th June.  Reviewed By Jessica Brady 

I was always told ‘Beauty is in the eye of the beholder’, but as more modern idea’s of what beauty truly is are at the forefront of most magazines, TV shows and even theatre, it’s hard to know if we as average bodied, non air brushed people are in fact classed as beautiful anymore. Do we succeed if we are not visually appealing to the people that ‘matter’? The Ugly One delves into a world that isn’t too far away from the one we live in now to explore that very question.

The story is focused around Lette [played by Charlie Dorfman] a clever engineer who has all the brains to invent and produce revolutionary things in his line of work and even the charisma to present them. However Lette’s boss, Scheffler [played by T’nia Miller] has recruited Lette’s young and attractive assistant Karlmann [played by Arian Nik] to present the newest invention and stay in a luxurious resort to top it off. Lette is obviously very put out by this and demands to know why he isn’t going to present his work, thus plays the awkward conversation where his boss tells him he is too ugly to do it. Outraged and horrified, Lette goes home to his wife Fanny [played by Indra Ové] to seek comfort but his wife tells him the same thing leaving Lette dejected and with only one real option, surgery. Lette goes under the knife and becomes completely transformed into a mega hunk and becomes more successful, arrogant and begins to take everything for granted including his job and wife. Lette becomes a star and the face that everyone wants, literally, as he has attained a level of beauty now that people associate with success on every level, so people everywhere begin to get the exact same face as him leading to somewhat desperate and bizarre consequences.

Buckland Theatre Company’s production of ‘The Ugly One’ has some very dark satire which at moments is laugh out loud funny but gloriously uncomfortable too which is just as good sometimes. I particularly enjoyed the surgery section of the piece which was demonstrated with a soundscape of a smoothie being made; the sounds alone were enough to give the visual idea without actually having to see a spot of blood and were cleverly done. All four actors were impeccable with their comedy timing and often turned to the audience for little in jokes which in a fairly intimate setting was a nice touch.

The staging was simple but effective, a platform in the centre of the arena theatre setting which images and videos were projected onto it from above. The use of a live recording camera projecting what footage it was getting onto the stage was a great tool that I wish they could have used more of. Costume was basic and represented the characters well until multi-rolling occurred, there was no change of costume but a change in characterisation and a slight lighting state change which at times left the action a little confused as to who was who.

Overall I felt the piece was executed well but I didn’t come out feeling anything had been resolved by the end of the play. The ending is a little bizarre and went in a direction that wasn’t what I had expected, however the performances were great and in particular Arian Nik who makes an excellent professional debut in this.

Despite feeling a little baffled at the end [Which could have been the desired effect, I don’t want to give too much away] the play definitely made me think about identity, beauty standards and what it takes to be successful. The scary prospect that this play tackles is on its way to becoming a reality if it hasn’t hit us already and that on reflection makes me feel quite sad and worried but this is why plays like The Ugly One are important. Go be entertained, challenged, cringed and recognise that this isn’t so far away from the truth of the world today but I still believe beauty is skin deep and its what’s underneath that counts and leads to the kind of success I strive for.

 

 

Manchester Opera House

8 September 2017 – 30 September 2017

 

Sheffield Lyceum Theatre

4 October 2017 – 14 October 2017

 

Bradford Alhambra Theatre

17 October 2017 – 28 October 2017

 

Southampton Mayflower Theatre

31 October 2017 – 11 November 2017

 

Llandudno Venue Cymru

14 November 2017 – 25 November 2017

 

Stoke Regent Theatre

28 November 2017 – 9 December 2017

 

Cardiff Wales Millennium Centre

9 January 2018 – 20 January 2018

 

Liverpool Empire Theatre

23 January 2018 – 3 February 2018

 

Norwich Theatre Royal

6 February 2018 – 17 February 2018

 

Canterbury Marlowe Theatre

20 February 2018 – 3 March 2018

 

Hull New Theatre

6 March 2018 – 17 March 2018

 

Leeds Grand Theatre

20 March 2018 – 31 March 2018

 

Newcastle Theatre Royal

3 April 2018 – 14 April 2018

 

Bristol Hippodrome

17 April 2018 – 28 April 2018

 

Birmingham Hippodrome

1 May 2018 – 12 May 2018

 

Plymouth Theatre Royal

15 May 2018 – 26 May 2018

 

Northampton Royal & Derngate

29 May 2018 – 9 June 2018

 

Nottingham Theatre Royal

12 June 2018 – 23 June 2018

 

Glasgow King’s Theatre

26 June 2018 – 7 July 2018

 

Edinburgh Playhouse

10 July 2018 – 14 July 2018

Southwark Playhouse 7 June – 8 July.  Reviewed by Claire Roderick

The London premiere of Working has a stellar pedigree, crammed full of songs by prize winning songwriters (James Taylor, Stephen Schwartz, Mary Rodgers, Craig Carnelia, Micki Grant and Lin-Manuel Miranda), and performed by a dream cast with gorgeous voices. Based on Studs Terkel’s 1974 book compiling the oral histories of American workers, and with additional songs after new interviews reflected the 21st century workplace, the cast play multiple characters discussing their jobs and life.

The monologues are acted with a realistic passion, and are listened to with wide-eyed admiration or sympathy by the six young performers making their professional debut. You wouldn’t realise if it hadn’t been pointed out to you, as their dance moves and characterisation are wonderful. These guys are obviously having the time of their lives, and making the most of a golden opportunity to learn from some of the best in the business. This idea of the next generation learning and striving for more is a theme that builds momentum throughout the show, with the female cast belting out “Cleanin’ Women”, and Peter Polycarpou breaking your heart with a sublime version of Stephen Schwartz’s “Fathers and Sons”.

Polycarpou should come with a health warning – that man can pull on your heartstrings with just one note. His rendition of “Joe”, about a widowed pensioner describing his empty life is a masterclass in musical acting – nuanced and brilliantly observed. Gillian Bevan raises the roof with an energetic and hysterical performance of “It’s an Art” as a waitress that can only be described as the anti-Mrs Overall. Dean Chisnall brings a purity and dignity to “The Mason” that will give you goose bumps, Siubhan Harrison does the same with “Millwork”, and Liam Tamne is simply adorable as the fast-food worker singing “Delivery”. Tamne and Harrison’s duet “A Very Good Day” is another song that will get your bottom lip quivering – sung beautifully by two low paid care workers looking after other people’s families to support their own. Krysten Cummings is equally impressive in the high octane and slower numbers, a gorgeous voice and exquisite body language differentiating each character.

The stories and characters are fascinating, some funny, some poignant, but all having something important to say about life. Luke Sheppard has created a beautifully framed and wonderfully uplifting, emotional show, with Fabian Aloise’s energetic choreography a perfect match for the sublime music. There isn’t a dud song or any filler in Working, just sheer class throughout. A must see.

Presented by Theatre Royal Bath Productions and the James Grant Group

Stepping Out

 

·         Last chance to see Amanda Holden, Tracy-Ann Oberman, Natalie Casey, Nicola Stephenson and Josefina Gabrielle Stepping Out in Richard Harris’s award-winning comedy.

 

·         Vaudeville Theatre, London until 17 June. www.steppingoutplay.com

 

Last chance to see Amanda Holden, Tracy-Ann Oberman, Natalie Casey, Nicola Stephensonand Josefina Gabrielle in heart-warming comedy Stepping Out which ends its limited run at the Vaudelville Theatre on Saturday 17 June.

Directed by Maria Friedman, this brand new staging of Richard Harris‘s award-winning play also features Judith Barker, Jessica-Alice McCluskey, Sandra Marvin and Dominic Rowan withJanet Behan, Suzy Bloom, Emma Hook, Marcia Mantack, Katie Verner and Nick Warnford.

Stepping Out charts the lives of seven women and one man attempting to tap their troubles away at a weekly dancing class. Initially all thumbs and left feet, the group is just getting to grips with the basics when they are asked to take part in a charity gala. Over the course of several months we meet the group, and all of them have a story to tell. There’s perfectionist Vera, mouthy Maxine and uptight Andy, bubbly Sylvia and shy Dorothy, eager Lynne and cheerful Rose, and, of course, Geoffrey. At the piano is the dour Mrs Fraser and spurring them all on, the ever-patient Mavis.

This uplifting comedy originally premiered in the West End in 1984 starring Barbara Ferris and Marcia Warren, winning the prestigious Evening Standard Award for Best Comedy and enjoying extended runs both in the West End and on Broadway. Stepping Out has also been made into a musical, which became a film in 1991, starring Julie Walters, Liza Minnelli and Shelley Winters.

Presented by Theatre Royal Bath Productions and the James Grant Group, Stepping Out is directed by Maria Friedman, designed by Robert Jones and choreographed by Tim Jacksonwith lighting design by Peter Mumford, sound design by Gregory Clarke and orchestrations byChristopher Walker.

 

LISTINGS

VAUDEVILLE THEATRE, LONDON

404 Strand, London WC2R 0NH

Website: www.steppingoutplay.com
Twitter: @steppingout
Facebook: stepping out
Instagram: @steppingoutplay

Box Office: 0330 333 4814

Groups: 0330 333 4817

Access: 0330 333 4815

Ticket prices from £20

THE WHO’S TOMMY COMES TO THE CRUCIBLE WITH EXCLUSIVE

NEW SONGS FROM PETE TOWNSHEND

 

Iconic rock opera Tommy visits the Crucible from Thursday 22 June – Saturday 1 July, featuring two new songs written by legendary lead songwriter of The Who, Pete Townshend.

 

The Who’s Tommy has entertained and intrigued audiences for more than 40 years.  It tells the story of young Tommy who witnesses the murder of his father at the hands of his mother’s lover.  He is so traumatised that he chooses to stop communicating with the outside world. Growing up in post WWII England, he suffers abuse from relatives and others in the wider community but on reaching adolescence, Tommy’s life begins to change when he finds salvation in playing pinball.

Original Tommy cast member Peter Straker opens the show with a new version of Amazing Journey, returning in Act Two with a new torch song, adding to an already epic score includingTommy Can You Hear Me, I’m Free, See Me, Feel Me and Pinball Wizard.

Known across TV, theatre and music, Peter Straker started his stage career as Hud in the original London production of Hair before taking on the role of the Narrator in Tommy in 1979.  He notably worked with Freddie Mercury on two solo albums and more recently, his hit solo show Peter Straker Sings Brel played the Famous Spiegeltent at the Edinburgh Festival Fringe.

Peter is joined by actor, writer and director Garry Robson who takes on the controversial role of Uncle Ernie. Tommy’s mother, Mrs Walker, is played by CBeebies Magic Hands presenter Donna Mullings, and Max Runham (A Pacifist’s Guide to the War on Cancer) takes on the role of Captain Walker. The role of Tommy is taken by William Grint, who is joined by Amy Trigg as Sally Simpson, Lukus Alexander as Cousin Kevin, Alim Jayda as the Lover, and an ensemble of fourteen performers and musicians.

 

Tickets for The Who’s Tommy can be purchased from Sheffield Theatres’ Box Office in-person, by phone on 0114 249 6000 or online at sheffieldtheatres.co.uk and are priced from £15.00. 

CASTING ANNOUNCED FOR GRAEAE’S CULT HIT MUSICAL REASONS TO BE CHEERFUL

• Inclusive cast of 14 actors & musicians announced for fully accessible punk musicalReasons to be Cheerful
• Protest songs for today’s political climate to be submitted across the country
• Part gig, part play, Reasons to be Cheerful celebrates the infectious music of Ian Dury and the Blockheads in this bold and jubilant coming of age tale
• Seven venue UK tour opening with associate producers Belgrade Theatre Coventry in September 2017
• All performances incorporate creative British Sign Language, audio description and captioning

@R2BCheerful @graeae
#Reasons17

Pioneering disabled-led theatre company Graeae has announced the full cast for the upcoming tour of their acclaimed musical Reasons to be Cheerful, which will hit the road one final time this autumn. The extraordinary wit and wisdom of Ian Dury and the Blockheads’ music and lyrics will be brought to life by an inclusive cast of 14 actors and musicians. Graeae’s Artistic Director, Jenny Sealey will direct a mix of performers who originated the show in 2010, those who joined the cast subsequently and newcomers to Reasons to be Cheerful. Beth Hinton-Lever will play Janine in her Graeae debut, while Gerard McDermott (Blood Wedding and Blasted for Graeae), Joey Hickman (The Threepenny Opera for x) and Max Runham (Captain Walker in Tommy for Ramps on the Moon) will also join the company.

The parallels with the show’s 1979 setting are clear. Today, as nationwide cuts continue to impact on the lives of d/Deaf and disabled people, Graeae puts them centre stage. As a prominent disabled activist, Ian Dury was a patron and staunch supporter of Graeae. Protest songs are being written all across the country as part of an extensive community engagement programme inviting original songs for a new generation to be included in the tour.

Reprising their roles from the hugely successful 2010 and 2012 tours, Stephen Lloyd will play Vinnie alongside Stephen Collins as Colin, Dan McGowan as Nick/Dave, Karen Spicer as Pat,Wayne ‘Pickles’ Norman as Pickles and Jude Mahon in the role of Debbie. With John Kelly on lead vocals, the on-stage band is completed by Paul Sirett (Guitar, also writer), Nixon Rosembert (Bass) and Paula Stanbridge-Faircloth (Drums).

This joyful and defiant production will visit seven regions around the country, kicking off at the Belgrade, Coventry, also associate producers, on Friday 8 September before touring to Derby, Southampton, Ipswich, Leeds, Liverpool and ending with a two week run at Theatre Royal, Stratford East in London from 24 October – 4 November. Press night is 13 September at Derby Theatre.

First seen in 2010, Reasons to be Cheerful has gone on to play at theatres and festivals across the UK, in stadiums around the world, and even in front of HRH The Queen. “Spasticus Autisticus”, the Ian Dury-penned disability rights anthem which features in the show, was performed by the cast at the London 2012 Paralympic Games Opening Ceremony and, despite being banned by the BBC in 1981, broadcast worldwide in front of an audience of over 1 billion.

This coming of age tale rejoices in the infectious and enduring music of Ian Dury and the Blockheads. Featuring stone-cold classic songs including Hit Me With Your Rhythm Stick; Plaistow Patricia; Sex and Drugs and Rock and Roll; Sweet Gene Vincent; What A Waste and the titular Reasons to be Cheerful (Part 3), this show is loud, bold and jubilant.

Using Graeae’s signature theatrical language, all performances of Reasons to be Cheerful seamlessly include British Sign Language, audio description and creative captioning.

Jenny Sealey, Artistic Director at Graeae Theatre Company, said: ‘Directing Reasons to be Cheerful remains one of my career highlights. I am delighted that we’re not only reuniting many of the original cast members, but also welcoming the gloriously talented Joey Hickman, Gerard McDermott and Max Runham to the company. We are always aiming to work with Deaf or disabled artists new to Graeae, so are thrilled that Beth Hinton-Lever will also be joining the family. We will be well and truly raising the roof up and down the country with the brilliantly anarchic music of Ian Dury and the Blockheads, whose punk sentiment speaks louder than ever as we fight against the brutal cuts that Deaf and disabled people, and millions of others, have faced in recent years.’

Hamish Glen, Artistic Director for the Belgrade Theatre Coventry (associate producers) said,‘It’s a pleasure to be supporting Graeae with their revival of Reasons to be Cheerful, and to be bringing this acclaimed punk rock musical to new audiences across the UK, starting here in Coventry. Jenny Sealey and her team are creating great theatre that is accessible to all, and the Belgrade is very proud be a part of that. Ian Dury and the Blockheads produced an amazing catalogue of music, which you will hear in this show, but importantly, he also challenged the way we think and talk about disability. Reasons to be Cheerful continues his legacy of showing a fighting rebel spirit.’

New cast member Gerard McDermott said: ‘I was bowled over by punk rock when it hit sleepy Scarborough, swapped my flairs for drainpipes and pogo danced with the best. The music of Ian Dury was storytelling, it was jazz; music hall; folk; rock and roll and scintillating word play. The thought of standing on stage and singing the songs of such a talented man, mentor and role model is spine tingling’

New cast member Max Runham said: ‘Working with Graeae never grows old, hearing people’s reactions and seeing the change we’re making on people’s perceptions of disability. Having done a one-off gig version of Reasons to be Cheerful I’m incredibly excited to be part of it. I can’t wait to get out there and sweat myself silly.’

New cast member Joey Hickman said: ‘I saw Reasons to Be Cheerful at the Hackney Empire back in 2012 – I loved it then and fell in love with Graeae’s style. Two years later, I had the pleasure of working with Graeae in their production of The Threepenny Opera and now I can’t wait to be involved in the 2017 tour of Reasons To Be Cheerful’

New cast member Beth Hinton-Lever said: ‘I’ve been an avid fan of  Graeae since I saw The Solid Life of Sugar Water and so words really can’t express how thrilled I am to be joining the cast of Reasons to be Cheerful! I already feel excited, overwhelmed, and empowered to be joining this family. Bring on the Dr. Martens!’

All members of the cast and creative team are available for interview. Graeae patron Mat Fraser, who was in the original 2010 company and has recently played the role of Richard III for Hull Truck Theatre, is also available for an interview.

This tour is supported by Arts Council England through their Strategic Touring Fund.

Twitter:@R2BCheerful @graeae
#Reasons17
Facebook: Reasons to be Cheerful – the Musical
YouTube: GraeaeTheatreCompany
Trailer: https://vimeo.com/217014732

Graeae’s media language guide can be viewed here

Stephen Lloyd (Vinnie) is Artistic Director of Amplified Theatre, an inclusive theatre company that focuses on merging live theatre with alternative music genres. His theatre credits include: Henry V (UK Tour), The Deranged Marriage (Watford Palace/West Yorkshire Playhouse/Rifco Arts), Reasons To Be Cheerful (UK Tour/Graeae/New Wolsey/Theatre Royal, Stratford East),, Come Dancing, Red Riding Hood and Cinderella (Theatre Royal, Stratford East) Film and TV credits include: Boycie in Rock and Chips, Holby City, Silent Witness, Gracie! (BBC), Paralympics Opening Ceremony (Channel 4), Seat 25 (Red Kite Films).

 

Stephen Collins (Colin) is an actor, workshop facilitator and recently debut as a director & Associate Artist for Amplified Theatre.  His theatre credits include Summit (Fuel Theatre),Nodus Tollens (DH Ensemble), The Government Inspector (Ramps on the Moon/Birmingham Rep), Threeepenny Opera, The Iron Man (Graeae), Shakespeare Globe’s Love’s Labour’s Lost & Red Flags (Deafinitely Theatre), Hansel & Gretel (Red Earth) & The Winter’s Tale (Taking Flight).

 

Beth Hinton-Lever (Janine) has recently graduated from Mountview Academy of Theatre Arts with an MA in Performance (Musical Theatre). Her choreography of Jason Robert Brown’s Paradewon her the Award for Best Choreography at the National Student Drama Festival, which started her professional performing career. Credits include: Mona/Georgina in Dancehall (CAST Theatre), Princess Aurora/Rosie in Sleeping Beauty (CAST Theatre), and Clara in Welfare (Arts Theatre).

 

Dan McGowan (Nick/Dave) recently became Academy Director of Hijinx Theatre, overseeing training courses across Wales for adult actors with learning disabilities. Previous roles includeMeet Fred (Hijinx Theatre), Our House (Garrick Theatre). His main focus is in writing and directing which has led to the short films Boat (nominated for Best Welsh Short at Cardiff Independent Film Festival, Best Short at Madrid International Festival 2017l), Triple Word Scoreand the recently-completed The Stand, plus the Unlimited-commissioned online comedyFlatmates.

 

Gerard McDermott’s (Bill/Bobby) recent theatre credits include; Merry Wives (Northern Broadsides), Blood Wedding (Graeae), Bunny’s Vendetta (Blue Eagle), Being Tommy Cooper(The Old Red Lion), Fool for Love (The Riverside Studios) and Calendar Girls (Tour/Noel Coward Theatre). For Graeae he has appeared in Blasted (Northern Broadsides). Television and film credits include; Doctors, EastEnders, Downton Abbey (BBC), and Eyes and Prize (2017).

 

Karen Spicer (Pat) has played a variety of roles on screen in Coronation Street (ITV), Emmerdale (ITV), Doctors (BBC) and Clocking off (Channel 4).On stage she has worked with Graeae, Trestle, Red Ladder, Theatre Centre, Roundabout, Quick Silver, Fittings Multimedia, The Nuffield Theatre Southampton, Interplay, and Polka.

 

Joey Hickman (Uncle Harry) trained as a musical director his MD, assistant MD, band leader & arranger credits include: The Comedy About A Bank Robbery (Mischief Theatre & Criterion Theatre, Piccadilly Circus); Oliver! (Watermill Theatre); Three Minute Heroes (Belgrade Theatre); The Threepenny Opera (Graeae Theatre/UK Tour); Our House (New Wolsey Theatre/UK Tour); Dreamboats and Petticoats (BKL Playhouse Theatre, West End) and Assassins(Rose Bruford). As an actor, Joey has performed in many productions across the country including: Thisbe (Door Ajar Theatre); Cinderella: A Fairytale (Tobacco Factory & Traveling Light) and Made In Dagenham (Queen’s Theatre, Hornchurch).).

John Kelly (Lead Vocals) has completed five UK tours as well as many international performances.  John is Artistic Director of DaisyFest, National Associate Artist for Drake Music, musician with circus company ExtraOrdinary Bodies and is Policy & Strategy manager at Merton Centre For Independent Living. John sang Spasticus Autisticus, live at the opening ceremony of the Paralympic Games in London, and has also guested with the Blockheads.

Nixon Rosembert (Bass) is an accomplished musician who has performed/recorded either in the recording studio, on television, or live with Mariah Carey, Ronnie Laws (EWF), Angie Brown, Pete Brown, Reasons To Be Cheerful (band), The Honeyz, Sam Moore (Sam & Dave), Ruby Turner, Jools Holland, Juliet Roberts, Billy Paul, ABC, Cleveland Watkiss, Emmett North Jnr, Clem Curtis & The Foundations and many more. He has written music for theatre and toured with theatre companies as a musician and actor.

 

Paula Stanbridge-Faircloth (Drums) has been playing the drums for over two decades. Faircloth has performed at intricate math-rock polyrhythms in Quadrilles, the opening ceremony of the Paralympic Games, toured with Reasons to be Cheerful and Psycho Delia, in addition to forming a Kate Bush tribute band.

 

Max Runham (Percussion) has appeared in Graeae’s production of The Threepenny Opera, The Funfair (HOME), The Family Way (Bolton Octagon), Gods are fallen and all safety gone (Camden People’s Theatre) and most recently, Max made his debut with The National Theatre and Complicite in A Pacifist’s Guide to The War on Cancer. Max has recently performed in Ramps on the Moon’s production of The Who’s Tommy.

 

Jude Mahon (Debbie (SLI) trained as an Actor at Mountview Academy of Theatre Arts and as a British Sign Language Interpreter at Wolverhampton University. These two skills have worked together in numerous roles on television and in theatre. As a Performance Interpreter Jude won The Best Supporting Actress award from Nottingham Playhouse for her role in Graeae’s The Threepenny Opera.

 

Wayne ‘Pickles’ Norman (Pickles) has been working professionally for forty years; his first job was the Artful Dodger in the West End production of Oliver! in 1977. Television credits include;Terry and June, Dr Who, Eastenders, Grange Hill, Inspector Morse and The Harry Enfield Show(BBC). Theatre work includes The Merry Wives of Waltham, Welcome Home, The Coming of Gowf, Afters and Counting the Ways. Pickles has been working for Graeae for 15 years as an access worker and also an audio describer appearing in their hit shows Reasons To Be Cheerful, The Iron Man and The Threepenny Opera.

LISTINGS

Reasons to be Cheerful
By Paul Sirrett
Director Jenny Sealey
Lighting Ian Scott
Sound Lewis Gibson
Choreography Mark Smith
Musical Director Joey Hickman
Casting Sarah Hughes CDG

Friday 8 & Saturday 9 September
Belgrade Theatre Coventry
http://www.belgrade.co.uk/
024 7655 3055

Tuesday 12 – Saturday 16 September
Derby Theatre
https://www.derbytheatre.co.uk/
01332 59 39 39
Press night: 13 September

Tuesday 26 – Saturday 30 September
Nuffield Theatre, Southampton
https://www.nstheatres.co.uk/
023 8067 1771

Tuesday 3 – Saturday 7 October
New Wolsey Theatre, Ipswich
https://www.wolseytheatre.co.uk/
01473 295900

Tuesday 10 – Saturday 14 October
West Yorkshire Playhouse, Leeds
https://www.wyp.org.uk/
0113 213 7700
On Sale Soon

Tuesday 17 – Saturday 21 October
Liverpool Everyman
https://www.everymanplayhouse.com/
0151 709 4776

Tuesday 24 October – Saturday 4 November
Theatre Royal Stratford East
http://www.stratfordeast.com/
020 8534 0310

Press night: 24 October

Age recommendation 14+
All performances include creative British Sign Language, captioning and audio description.

Bunker Theatre – 6th -17th June.  Reviewed By Jessica Brady 

Approaching the Bunker Theatre was a little sombre in light of Saturday night’s terror attacks, walking through London Bridge and Borough the streets were busy but the effects of what happened were still evident. I want to applaud Pharmacy Theatre from the start for carrying on in such a brilliant fashion despite having to cancel a preview and less time to set build, the results were still outstanding, thank you.

The Enchanted is based on the novel of the same name written by Rene Denfield and has been cleverly adapted by Joanna and Connie Treves into a contemporary masterpiece. The plot is about death row in America and how men sit isolated in prison awaiting execution. The story focuses around Arden [played by Corey Montague-Sholay] who also serves as the narrator figure of the piece, and his time in ‘the dungeon’ and his poetic thoughts on life inside. Arden talks about another inmate on death row, York [Played by Hunter Bishop]. ‘The Lady’ [played by Jade Ogugua] who is tirelessly trying to save York from execution by investigating his past and trying to connect with him, but it is very difficult to save someone who doesn’t want to be saved. Arden is on stage the whole time as a constant reminder that time for him stands still even though the world outside carries on. This play gets up close and personal with what it means to be evil and if redemption is something that can save you.

The cast are incredible and each actor gives a gritty and honest performance to a difficult subject matter. The post modern feel meant that physical theatre, puppetry and ensemble work were also required from this group to produce this truly haunting play and again were performed to a brilliant standard.

I found each character portrayed had something interesting about it that made it very easy to be invested in them and I went on a journey that allowed me to be sucked into the dark world that was on stage. It’s very difficult to single out a particular performer but I must give a special mention to Liam Harkins and Georgina Morton who had several roles in the piece and performed them with great command and superb control which was very impressive, I couldn’t take my eyes off them.

The staging was simple, plain white with a mobile white plank that stretched across the stage and moved throughout. There is a light that comes down from a box above with a huge tree branch crawling out of it where the inmates would often be boxed into. The use of blue chalk drawing on the floor and walls was very effective in demonstrating settings, timelines and moods of the different scenes and was quite poignant in some scenes. The score composed by David McFarlane for this play is haunting and plays an integral part to this piece and compliments the action perfectly. The costume was very simple with plain greys and whites but to be honest the set and costume are not what you should go to see this play for, it’s the story, the characters and some incredibly powerful performances. Go and see The Enchanted to really be transported into a world you didn’t know existed.