The Royal Shakespeare Company and Nica Burns present
DON QUIXOTE
Adapted by James Fenton from the novel by Miguel de Cervantes
With songs by James Fenton and Grant Olding
Directed by Angus Jackson

• The RSC’s joyous, music-filled Don Quixote transfers to the West End for a limited season at the Garrick Theatre from 27 October 2018 to 2 February 2019 with press night on 8 November

• David Threlfall and Rufus Hound return to reprise their roles as Don Quixote and Sancho Panza in James Fenton’s triumphant adaptation of Cervantes’ classic novel
• Tickets go on sale to the general public on Monday 25 June at 10am

It is announced today that the Royal Shakespeare Company’s Don Quixote, which originally premiered at the RSC’s Swan Theatre in Stratford-upon-Avon in spring 2016, will transfer to theGarrick Theatre in London’s West End from 27 October 2018 to 2 February 2019.

The award-winning poet, journalist and literary critic James Fenton has adapted Miguel deCervantes’ iconic novel which tells the famous, farcical story of a self-fashioned travelling knight accompanied by his faithful squire.

A labyrinthine world of rogues, merchants, shepherds, galley-slaves and windmills combine to confront the pair with a world of rampant, absurd adventures in this brilliantly energised adaptation of the comic epic.

RSC Artistic Director Gregory Doran said: “We are delighted that Angus Jackson’s joyful production of Don Quixote is going to be shared with West End audiences this autumn, following my production of Imperium playing at the Gielgud Theatre and our regular winter season of Shakespeare plays at the Barbican.  

Don Quixote’s journey with his faithful sidekick is one of the world’s most famous stories, and James Fenton’s glorious adaptation brings Cervantes’ novel wonderfully to life.  

First staged in Stratford-upon-Avon to mark the 400th anniversary of Cervantes’ death, David Threlfall will reprise his mesmerising performance in the title role, with Rufus Hound once again playing his long-suffering companion Sancho Panza. 

London audiences will get the chance to see them recreate their chemistry on stage and I encourage everyone to discover this hilarious, profound and lyrical adaptation of a classic tale.”

Co-producer and theatre owner Nica Burns said: “Having seen this glorious production which premiered at the Swan Theatre in 2016, we are thrilled to be collaborating with the RSC to share this joyous and moving evening with a wider audience at its new home at the Garrick Theatre.”

Don Quixote will again be played by David Threlfall, best known for his leading role as Frank Gallagher in Channel 4’s Shameless. His other recent TV work includes Tommy Cooper: Not Like That, Like This, Black Sea, Housewife 49, What Remains and most recently he appeared in the BBC/Netflix series Troy: Fall of a City. His original appearance in the show in Stratford marked a long-awaited return to the RSC for Threlfall, whose last performance there was in his award-winning role of Smike in the iconic adaptation of Nicholas Nickleby in 1980.

Actor and comedian Rufus Hound will return to play Quixote’s squire, Sancho Panza. Hound’s recent work includes the Rose Theatre Kingston’s War of the Roses cycle, Dirty Rotten Scoundrels(Savoy Theatre), One Man Two Guvnors (NT/West End), Wind in the Willows (London Palladium Theatre), What the Butler Saw (Curve Leicester), Present Laughter (Chichester) and the upcoming new musical Dusty (UK tour).

After a lifetime of reading books on chivalry, Don Quixote decides to embark on a quest of his own. Taking up a lance and sword, he sets out to become a wandering knight, defending the helpless and vanquishing the wicked. Hopelessly unprepared and increasingly losing his grip on reality, he travels across Spain accompanied by his faithful and equally ill-suited squire, Sancho Panza.

The production is once again directed by RSC Associate Director Angus Jackson who previously worked on the critically acclaimed production Oppenheimer, which transferred to the West End in 2015 after a sell-out run at the Swan Theatre in Stratford-upon-Avon. Last year, he was season director of the ROME MMXVII season of Shakespeare plays (RST and Barbican).

Don Quixote is designed by Robert Innes Hopkins, with music composed by Grant Olding,lighting by Mark Henderson and sound by Fergus O’Hare. The fight director is Malcolm Ranson. Movement is by Lucy Cullingford.

LISTINGS
Don Quixote
Garrick Theatre
2 Charing Cross Road
London
WC2H 0HH

Saturday 27 October 2018 – Saturday 2 February 2019
Press night: Thursday 8 November 2018

Monday – Saturday at 7:30pm
Wednesday and Saturday at 2:00pm
No matinees between Saturday 27 October and Wednesday 7 November
First matinee will be on Saturday 10 November

Box Office

Website: www.donquixoteplay.com / www.rsc.org.uk/london
Telephone: 0330 333 4811 / 01789 403493
Prices from £10 (Prices from £5 for 16-25 year olds only)

Tickets go on sale to the general public on Monday 25 June at 10am

Edinburgh Playhouse – until 16 June 2018

5*****

It has been 106 years since the Titanic sunk, killing more than half its passengers and crews on board. While this famous tragedy is a well-documented and discussed event, Danielle Taranto’s production of  Titanic: The Musical breathes new life into the story, creating a gloriously entertaining show that should not be missed.

Having seen this show at the beginning of the tour in Southampton which was a 5 star production then, I can only say that it has improved on the way.  The cast of 25 are now more familiar with their roles, growing into them and making them their own. The sniffles and sobs throughout the audience are an auditory experience not to be missed, a shared grief almost. Titanic’s characters get to your soul. Their hope and optimism lets you believe things might be okay. But, of course, we know that it won’t be

The story develops elegantly and organically: even with such a large number of characters, every single person has a clear and distinctive story arc or motivation. Whether it be through a song or a short scene to tell their story, they all felt fleshed out, whereupon the emotions felt and reactions experienced with the sinking of the ship are rendered even more heartbreaking to witness. The characters in Titanic: The Musical were based on actually on board the ship, and while a little creative licensing occurs, careful research is evident and pays off marvellously.  The story here is semi-biographical, based on real people, diaries, letters and news articles, and succeeds brilliantly in bringing to life the hopes and aspirations of the passengers. Numerous mentions of the “ship of dreams” alongside musical numbers such as I Must Get On That Ship and Lady’s Maid echo the constant theme of yearning for a better life

Only three actors plays single roles, Greg Castiglioni (designer Mr Andrews) Philip Rham (the well intentioned Captain Edward Smith) and Simon Green (conceited owner Mr Ismay) form a solid core. The men share a strong scene in act two as they argue in vain as to who must shoulder The Blame. Castiglioni  has a powerful role in the finale, vividly describing how the ship he designed will sink as he sings Mr Andrews’ Vision.

Some of the stand out performances included Claire Machin as the second-class passenger with aspirations of first-class grandeur Alice Beane, Dudley Rogers and Judith Street as Isidor and Ida Straus performing Still – a romantic duet reflecting on their life-long relationship – ensured that if you weren’t welling up already, that your tears would come.

On the bridge, Rham as Smith, Kieran Brown as William Murdoch and Alistair Barron as Charles Lightoller are powerful men who are painfully aware of their responsibility, these actors working off each other brilliantly. Brown gives passion to Murdoch’s needless suicide and Barron’s Lightoller is powerful in assuming of responsibility as everything around him disintegrates

The three Kates – Kate McGowan (Victoria Serra), Kate Murphy (Devon-Elise Johnson) and Kate Mullins (Emma Harrald) – lead the third class ranks in terms of story development. They convey starry-eyed, poor women determined for a fresh start.

Act One is 80-minutes, followed by a 20-minute interval before a 50-minute Act Two. Titanic is intense from the moment it starts, and most of the actors remain on stage or visible the entire time.  The live band, lead by Mark Aspinall play the score beautifully helping to create the story and build the tension

This beautiful and momentous musical deserves to be seen, and whilst for now we must be content with the UK tour, we can live in hope that it will find its rightful place on the West End stage

STILL MINDING THE GAP 30 YEARS ON

“…fiercely proud of being a theatre company and not a box-ticking exercise”

                                                                                                                                        JuliaSkelton, Executive Director, Mind the Gap

Next week is Learning Disability Awareness Week (18^th – 24^th June) and right in the middle of it Europe’s leading learning disability theatre company, Yorkshire’s own Mind the Gap, will celebrate its 30^th birthday.

To mark its 30^th year Mind the Gap will spend the next 12 months celebrating its achievements and its artists, touring highly-acclaimed productions, creating new work – including a large-scale, outdoor spectacular – and challenging the current lack of work for learning disabled artists.

“We have championed learning disability arts for 30 years – we have theatre company and an academy each with exceptional facilities; we have worked alongside other arts venues to help create more opportunities for both LD audiences and artists,” says Julia Skelton, Executive Director at Mind the Gap.

“There are success stories for LD artists and performers as shown by the recent Britain’s Got Talent results, but there is still no room for complacency.”

There are 1.4million people with a learning disability in the UK and Mind the Gap insist that their missing voice is noticeable.

“We work with learning disabled artists to give them a voice. MTG’s work is about collaboration – we don’t tell our artists what to say or how to say it. Our work is created by them,” continues Julia.  “We want to see LD Arts respected and heard – at conferences, events and in other people’s productions.”

Mind the Gap’s aim is to create ambition for people to ply their trade elsewhere and it has seen several of its artists independently commissioned; resident artist, Jez Colborne, a highly skilled musician, composer and singer, created a piece for the 2012 Paralympic Games Celebrations; ZaraMallinson is currently working on a piece with local writer, Emma Adams; JoAnne Haines had a part in BBC1’s Doctors; Alan Clay has received funding to develop his music project Skip Rap, and Liam Bairstow is a regular to the cobbles of Coronation Street where he plays Alex Warner.

Liam says: “Having a disability is not a bad thing – it’s a good thing because you get to know people inside. I’m very proud to inspire and represent people through my role on Coronation Street and my work with Mind the Gap.”

Later this month Liam is on the celebrity judging panel of Leeds Young Talent, a talent show for young people with a learning disability hosted by People In Action, where he will sit alongside Britain’s Got Talent winner Lee Ridley, aka Lost Voice Guy; dancer Michael Allen will perform at the Stanley and Audrey Burton Theatre in Expressions; Jez Colborne and the Mind the Gap Band play Leeds Wharf Chambers and Mirror Mirror – an outdoor production – plays at the opening ceremony ofGreat Exhibition of the North.

Highly-acclaimed production Mia, a piece about learning disabilities and parenthood that was described by one reviewer as ‘a much-needed middle finger held high in the face of our society’s assumptions about learning disability’ continues to tour, and in the coming months the company is sent make an exciting announcement about a brand-new piece on an epic scale.

Mind the Gap started its life in 1988 and ten years ago moved to its current home in Lister Mills, Bradford, which allowed the company to grow, produce more work and create more opportunities.

“If we’d have listened to those that said we couldn’t do it, we’d never have done it,” continues Julia. “But here we are. We’ve achieved so much, and we are incredibly proud, but there is more to do. OurPerforming Arts Academy is oversubscribed, which is great news for us but not so for those who don’t make it in. Mind the Gap should not be the only option for LD artists,” Julia concludes.

“It’s hugely important to all at Mind the Gap that we shout about the great theatre we create; theatre as it should be – bold, challenging, funny, emotive and thought-provoking. We are fiercely proud of being a theatre company and not a box-ticking exercise.”

For more information about Mind the Gap, its artists, productions and academy visit

www.mind-the-gap.org.uk

Follow Mind the Gap on Twitter @MtGstudios

The Alhambra Theatre, Bradford – until 16th June 2018.

Reviewed by Sally Richmond

5*****

‘Fabulous darling!’ and ‘A ten from Len’ are two most definitely deserved comments that one could say about the new musical, Son of a Preacher Man, which is directed and musically staged by Strictly’s very own bad boy, Craig Revel Horwood. If you think this show is a story about Dusty Springfield’s life then you’re wrong and when asked about the use of the icon’s songs and show’s title, the writer Warner Brown, said ‘The story came first, and then I thought this has got to be as if those (Dusty) songs were written for a musical. You come to a point where you need to go into song, and there was a Dusty song to fit it.’ Son of a Preacher Man may not be about Dusty but what it is about is love, a subject most of her legendary songs covered. Long-lost love, unrequited and lustful are but a few amongst loves many multifaceted mysteries and this musical extravaganza explores them all.

The show, which has now come to The Alhambra Theatre, the jewel in Bradford’s crown, is about three strangers from three different generations, who describe themselves as ‘a mess’ and ‘looking for direction’. They all find themselves at Dean Street in London’s Soho, searching for a record shop called Preacher Man, a place from the past where vinyl and Dusty were once at the forefront of a young hipster’s life. What the trio want from the Preacher Man is answers, solutions, wisdom and guidance to help them sort out their disastrous love lives.

Paul (Michael Howe), the oldest of the three, used to frequent the shop back in the day when the Preacher Man was actually there in the flesh during the Swinging 60s and it was here he fell for Jack (Jon Bonner). As Paul reflects, we the audience are invited to quietly watch a private moment between a young Paul and Jack, exploring the possibilities of their relationship in a moving and sensual dance performance. Sadly, nothing transpired between the two young men due to ‘things being different back then’ and Paul never really got over what could have been. In contrast to the sentimentality of love in the past, we also meet Kat (Alice Barlow), who is young, fresh and unsuccessfully trying to find love via internet dating websites. Barlow’s performance throughout the show is first class with her spectacular voice (which leads many of the show’s songs) and her brilliant acting skills which give an amusing and comedic performance of the kooky Kat. The third hapless lover is Alison (Michelle Gayle), who has sadly lost her husband but is now finding herself dangerously drawn to an eighteen-year old student. On arrival, finding out that The Preacher Man has passed away, the three characters decide to pursue his son, Simon (Nigel Richards), in hope that he will help them by giving the advice that they desperately seek.

Since the death of his father, Simon has sold the shop, above which he still lives, and it is now a café that he manages along with the Cappuccino Sisters (Michelle Long, Kate Hardisty and Cassiopeia Berkeley-Agyepong), waitresses who send up the other characters brilliantly but with much affection and with a great energy of the 1960s. Simon tries to emulate his father and help these lonely, troubled souls but with many misunderstandings and lots of soul searching along way.

The show has a really clever balance of nostalgia for the 1960s coupled with the present day and how ‘dating’ plays out today with the use of modern technology. A stand out element to the show is that several of the multi-talented actors are also among the musicians, playing their instruments on the stage as well as acting and singing their parts. The choreography directed by Craig Revel Horwood is spot on, as it flows from high energy to soft and romantic, which helps to develop the character’s and our understanding of them. All of the cast gave an excellent performance as an actor, singer, and dancer and some, as I have already mentioned, were also highly competent instrumentalists.

In the second half of the show, the energy just keeps growing and the harmonies begin to sound even more up-lifting as the characters, who the audience have begun to fall in love with by this point, begin to find love themselves and finally sort out their issues. By the closing number the whole of the audience were on their feet, dancing, singing and clapping along to sound of the beat of the sensational sixties and celebrating an awesome feel-good performance with the cast and each other. Son of a Preacher Man is a truly joyful experience and one that will have you grooving in the aisles!

FURTHER CASTING ANNOUNCED

FOR THE UK PREMIERE OF FLORIAN ZELLER’S

THE HEIGHT OF THE STORM

PATRICK MELROSE STAR ANNA MADELEY

AMANDA DREW AND LUCY COHU

TO JOIN JONATHAN PRYCE & DAME EILEEN ATKINS

ON TOUR AND IN THE WEST END THIS AUTUMN

Multi award-winning star of screen and stage Jonathan Pryce will star as ‘André’, and three-time Olivier award-winning Dame Eileen Atkins will star as ‘Madeleine’ in The Height of the Storm, in the UK premiere of a new compelling family drama by Florian Zeller, the internationally acclaimed writer of The Father.

Directed by Jonathan Kent, The Height of the Storm will open at Richmond Theatre on Saturday 1 September and play Cambridge Arts Theatre and Bath Theatre Royal, before transferring to London, opening at Wyndham’s Theatre on Tuesday 2 October, with a press night on Tuesday 9 October.

André and Madeleine have been in love for over fifty years. This weekend, as their daughters visit, something feels unusual. A bunch of flowers arrives, but who sent them? A woman from the past turns up, but who is she? And why does André feel like he isn’t there at all?

Anna Madeley will play the couple’s daughter, ‘Elise’. She most recently starred as ‘Mary’ opposite Benedict Cumberbatch in Sky’s Patrick Melrose, and her other screen credits include The Crown (Netflix), Dr Foster (BBC), A Child in Time (BBC) and Secret State (Channel 4). Recent stage credits include A Midsummer Night’s Dream(Young Vic), Les Blancs (National Theatre), The Crucible (Old Vic), and The Turn of the Screw (Almeida).

Amanda Drew, who starred in Florian Zeller’s The Father, and whose extensive stage credits include Enron(Royal Court/West End), Three Days in the Country (NT), The Events (ATC/Tour) and The Curious Incident of the Dog in the Nighttime (West End), will play the other daughter, ‘Anne’. Her screen credits include Broadchurch(ITV), EastEnders (BBC), HBO’s forthcoming series Chernobyl and Black Mirror for Netflix.

Lucy Cohu, who won a BAFTA and Emmy for her portrayal of Princess Margaret in The Queen’s Sister, and an Emmy for Forgiven (Channel 4), will play ‘The Woman’. Cohu has recently starred opposite Rowan Atkinson in ITV’s Maigret, and other screen credits include Ripper Street (Amazon), Broadchurch (ITV), and films Gosford Park and Becoming Jane.

Jonathan Pryce is an internationally acclaimed, award-winning actor on stage and screen. His diverse film work includes lauded performances in Terry Gilliam’s Brazil, James Foley’s Glengarry Glen Ross, Carrington for which Pryce won the Best Actor award at both Cannes Film Festival and Evening Standard Awards, Evita and successful blockbusters such as Tomorrow Never Dies, the Pirates of the Caribbean series and the G.I. Joe films.

His extensive theatre work includes Comedians in London and on Broadway, for which he won a Tony Award; The Royal Court production of Hamlet, for which he received an Olivier Award; and Miss Saigon in which he starred on both sides of the Atlantic, winning further Olivier and Tony awards.

Pryce’s recent work includes Terry Gilliam’s The Man Who Killed Don Quixote alongside Adam Driver; The Man Who Invented Christmas alongside Dan Stevens and Christopher Plummer, and The Wife opposite Glenn Close. He is currently filming upcoming Netflix feature The Pope alongside Anthony Hopkins, directed by Fernando Meirelles.

Pryce’s television work includes Taboo for FX and BBC, alongside Tom Hardy, and Sally Wainwright’s one-off film for BBC television To Walk Invisible. He also starred in Cranford: Return to Cranford, for which he received an Emmy Nomination for Outstanding Supporting Actor in a Drama. His other recent television roles include Cardinal Wolsey in the award-winning adaptation of Hilary Mantel’s Wolf Hall and High Sparrow in the hugely successful series Game of Thrones.

Dame Eileen Atkins is a three-time Olivier award-winning actress, and four-time Tony Award nominee. She is known for her BAFTA and Emmy award-winning performance in Cranford and major roles in Upstairs Downstairs and Doc Martin. Film roles include Gosford Park, The Hours and Paddington 2.

Atkins’ many stage appearances in the West End include Honour, Ellen Terry, Three Tall Women and The Female of the Species. She has also played starring roles on Broadway in Retreat from Moscow with John Lithgow, and All that Fall with Michael Gambon, Indiscretions with Jude Law, The Killing of Sister George and Vivat! Vivat! Regina!, all of which she received Tony Award nominations for Best Actress. She can be seen most recently as Queen Mary in Netflix’s The Crown.

The Height of the Storm is a beautifully compelling family drama by Florian Zeller, “the most exciting playwright of our time” (The Guardian). Starring two of the greatest actors of their generation on stage together for the first time, this major new play from the writer of Olivier Award-Winning The Father is a searing exploration of love, family and the fragility of life.

The Height of the Storm is translated by Christopher Hampton, directed by Jonathan Kent (Gypsy, Long Day’s Journey into Night) and produced by Simon Friend, Mark Goucher and Howard Panter. Co-producers will be Gavin Kalin, Act Productions and Scott Landis.

Sheffield Crucible – until 23 June

Reviewed byLottie Davis-Browne

3***

“One flew east, one flew west….one flew over the cuckoo’s nest”….

Set in Oregon, 1963, adapted from the 1962 Ken Kesey novel and 1975 movie adaptation, “One Flew Over The Cuckoo’s Nest” tells the story of recidivist criminal Randle P. McMurphy and his transfer to a psychiatric ward institution following serving a short sentence on a prison farm for statutory rape of a fifteen year old. Although McMurphy isn’t mentally ill, he is attempting to fake mental illness in the hopes to avoid hard labour, believing life on the ward will be more relaxed with less rules and regulations. He soon realises he is not in for an easy ride when he meets the strict uptight Nurse Ratched and sets out to defy the rules regardless of consequences.

The stage set comprises of the secure unit with the typical high windows – with just the top of tree being visible through it; the faint sound of birds singing in the distance. The story opens with the assumed “deaf mute” Chief Bromden (Jeremy Proulx) acting as a somewhat narrator (this is the case throughout the storyline, done in freeze frame to retain the belief that he is indeed a mute). In the background in the two storey offices – manned with CCTV screens (CCTV and panic buttons and tannoys are in clear patient view, the patients being continuously monitored by a team of Nurses and a Doctor) we see Ratched with a new patient – Randle McMurphy (Joel Gillman) who she soon introduces to the rest of the “acute” patients (the wards are named on severity of mental illness, the acutes being those who are most likely able to be “cured”.

From the moment Randle is introduced to the other patients, it becomes apparent he’s going to be defiant towards the strict patient rules; refusing the “admission shower” is just the start of his rebel against life in the institution which Gillman really brings the loveable side of the character out through humour making it hard not to love him, despite him being a danger to himself and other patients which results in tragedy.

The other patients are what really brings this production together, from stuttering virgin Billy Bibbit (Arthur Hughes), (Charlie) Cheswick (Shaun Mason) – who is prone to childish tantrums to the delusional Martini (Nathan Amzi), Randle soon has the others under his charm and it isn’t long before they are turning the tables on staff when it comes to rules and regulations, from bribing a security guard to get the office keys, gambling on sports and card games and organising a ward party complete with drugs, booze and prositutes. It isn’t long until Randle discovers the wards methods of “treating” the most difficult of patients – using electro shock treatment that things go from bad to worse.

Gillman delivers an exceptional performance as the small time criminal McMurphy; however it is some of the supporting cast members which really made this performance work. I was delighted to see not one but two cast members with physical disabilities – it is rare to see a disabled actor/actress playing such roles and as a disabled person myself it was a delight to see two cast members breaking down barriers which often come with disability and to give recognition to the often under-represented array of talented disabled actors.

Following a cast members injury, Jenny Livesy has stepped in at the last moment to take over the role of Nurse Ratched, although Livsey was still reading from a script for the majority of tonights performance, it was done in such a subtle way (as a Nurse in a Mental Asylum it was easy to make it look as if she was reading patient notes whilst talking) but towards the end it was less subtle but added a certain flair to the character portrayed – this hard-faced no nonsense Nurse, whilst making the audience feel empathy towards Livsey for doing such a smashing job at the last minute, thus saving the show from impending doom. The audience (myself included) most definitely let Livsey know at the bows just how grateful we were for this; she certainly gave an outstanding notable performance for someone who has had less than 48 hours rehearsal time to prepare for such an important role.

The music and lights add a slight horror/thriller movie feel to the story – at times I was genuinely clinging to the edge of my seat in fear and had to stop myself covering my eyes. I cant’ say I’ve seen the movie version nor have I read the novel, therefore I was unsure what to expect.

Although it covers some dark themes, the cast bring such humour to the array of eccentric characters making this a must see production.

The Kings Theatre. Southsea – until 23 June

Review by Nicky Wyatt

5*****

Quite simply the best feel good, funny and uplifting night out. F ABBA ULOUS

A little bit of Greece comes to Southsea. Most girls want their dad to walk them down the aisle on their big day, Sophie (Lucy May Barker) is no different. Brought up in a Greek paradise by her mum the brilliant Donna (Shona White), not knowing her dad and her mum not telling she decides she wants to find him and does some research. She finds not one but three possible dads! They all get an invite to the wedding of her and Sky (Phillip Ryan) and they all arrive on the island thinking they are the guest of Donna, she of course knows nothing about it nor does Sky it’s Sophie’s secret.

It’s a funny fast paced story with some great characters.

Dads to be all suddenly realising they could be the one, switching between panic and pride mixed with the nostalgia of their time spent on the island with Donna making each one a plausible dad.

Sam (Tamlyn Henderson) the architect that stole Donnas heart and sketched the plan for the taverna before he left to go back to the states.

Bill (Matthew Rutherford) the travel writer and adventurer that back in the day was the headbanger

Harry (Daniel Crowder) the banker that was on a backpacking trip when he fell for Donna

We are treated to so many well known and loved ABBA songs with fantastic dance routines and more than a bit of comedy.

Tanya (Helen Anker) is hilarious in her rendition of ‘Does Your Mother Know’ some great moves. I have to say the male ensemble in the Wetsuit stag night were fab as were their Abs!

A hugely talented cast with some fantastic voices for me Donna, Sophie and Sam stand out.

Clever scenery and scene changes really capture the essence of a Greek taverna along with fab costumes and the music from ABBA played by the extremely talented band there was a whole of foot tapping going on and you could tell that the audience wanted to join in and boogie. This is show is 2 and half hours long and it goes by in a flash culminating in a well deserved standing ovation from many in the audience. The only good bit of it ending was the whole cast doing 3 encores that allowed us all to have a boogie to Mamma Mia, Dancing Queen and Waterloo.

Benny Anderson and Bjorn Ulvaeus did an amazing job writing this, the cast delivered it beautifully . We played the CD all the way home so only thing left to say is ‘Thank you for the music’

Richmond Theatre  – until  Saturday 16th June 2018

Reviewed by Lisa Harlow

3***

This is a revival of the play adapted from the book of the same name. The lead character Helene Hanff, played by Stefanie Powers, was herself a script writer. It was not until she documented her true life 20 year relationship between herself, based in New York, and the staff of an antiquated second-hand bookshop in London after the Second World War, that she found the success she had sought with her script writing.

Clive Francis, as the bookshop’s Frank Doel, smoothly delivers his role with charm and poise throughout. Stefanie Powers holds court as the engaging and, at times, acerbic and gravelly voiced Hanff. The setting remains in place throughout with the passing of time portrayed through musical seasonal celebrations of the supporting cast.

In all, it truly is the essence of the word ‘quaint’. It conjures up a time of deep restraint and modesty, where instant gratification was not possible and delight remained in anticipation and eventual receipt. Hanff discovers an advert for the store in a paper, and her search for a range of literature classics from across the ocean begins in earnest. The beauty of corresponding in the old fashioned form of letter writing is gently held aloft and the appreciation for the topic and memories was evident from the audience.

For myself, the pace and content was too leisurely to truly hold the depth of my attention for most of the first Act. By the second, the turn of events and growing bitter sweetness began to capture my heart. It seems that the phrase ‘time flies’ remains applicable in any era, and experiencing the familiar story of allowing life events to overtake spoken hopes, dreams and promises is guaranteed to tug on the heartstrings. A gently enjoyable show.

TROUPE ANNOUNCES THE WORLD PREMIÈRE OF JOY WILKINSON’S THE SWEET SCIENCE OF BRUISING

AT SOUTHWARK PLAYHOUSE

Troupe presents

The World Première of

THE SWEET SCIENCE OF BRUISING

By Joy Wilkinson

3 – 27 October 2018

Southwark Playhouse

Directed by Kirsty Patrick Ward; Fight and Movement Direction by Alison de Burgh

Designed by Anna Reid; Sound Design and Original Composition by Max Perryment

Troupe today announces the World Première of Joy Wilkinson’s The Sweet Science of Bruising.Directed by Kirsty Patrick Ward, the production opens at Southwark Playhouse on 5 October, with previews from 3 October, and runs until 27 October.

“Place your bets, gents, and raise your glasses for the Lady Boxing Champion of the World.”

London, 1869. Four very different Victorian women are drawn into the dark underground world of female boxing by the eccentric Professor Sharp. Controlled by men and constrained by corsets, each finds an unexpected freedom in the boxing ring. As their lives begin to intertwine their journey takes us through grand drawing rooms, bustling theatres and rowdy Southwark pubs where the women fight inequality as well as each other. But with the final showdown approaching only one can become the Lady Boxing Champion of the World…

Based on historical research into 19^th century women’s boxing, The Sweet Science of Bruising is a fascinating new play by Joy Wilkinson (Verity Bargate Award winner). Featuring an ensemble cast and thrilling up-close boxing matches, this is an epic tale of passion, politics and pugilism.

Joy Wilkinson is an award-winning writer working across theatre, film, television and radio. Her stage plays have been widely produced in the UK and internationally, and she has won prizes including Soho Theatre’s Verity Bargate Award and the International Student Playscript Competition. Her plays include Fair (Finborough Theatre, Trafalgar Studios and National Tour), Now is the Time(part of the Tricycle Theatre’s Olivier Award-nominated ‘Afghanistan’ season which toured the USA and was revived in 2017 by Teatro Elfo Puccini, Milan), Acting Leader (‘Women Power and Politics’ season, Tricycle Theatre) and Britain’s Best Recruiting Sergeant (Unicorn Theatre). She has been awarded two attachments at the National Theatre Studio and is published by Oberon Books and Nick Hern Books. For television, Wilkinson was a graduate of the first BBC Drama Writers Academy, and her screen credits include Casualty, Holby City, Doctors and Land Girls. She also wrote Nick Nickleby, a critically-acclaimed five-part modernisation of Nicholas Nickleby for BBC1. Wilkinson’s extensive work for BBC Radio 4 includes a five-part spin-off from the hit Danish drama Borgen as well as numerous adaptations and original plays.

Kirsty Patrick Ward directs. Her credits include Exactly Like You (VAULT Festival Spirit Award at Underbelly Edinburgh and The Vaults), Chef (Scotsman Fringe First Award at Underbelly Edinburgh and Soho Theatre), I’m Not That Kind of Guy (The Vaults and Paines Plough), Mary Louise (The Vaults), Evita (MT4Uth, Belfast), People Like Us (Pleasance London), Snow White (National Tour for The Old Vic), A Writer’s Response to ‘Chavs’ by Owen Jones (Lyric Theatre Hammersmith), Present Tense (Live Theatre), Brave New Worlds (Soho Theatre), Life Support (York Theatre Royal) and Old Vic New Voices: The 24 Hour Plays (The Old Vic). Work as Associate Director includes The Comedy About a Bank Robbery (Criterion Theatre), Brideshead Revisited (English Touring Theatre and York Theatre Royal) and Young Pretender (Underbelly Edinburgh and National Tour). Work as Assistant Director includes Othello and King Lear (Shakespeare’s Globe), Our New Girl (Bush Theatre) and Bunny which won a Scotsman Fringe First Award (nabokov, Underbelly Edinburgh and National Tour).

Troupe’s recent production of Rasheeda Speaking by Joel Drake Johnson starred Tanya Moodie and Elizabeth Berrington at Trafalgar Studios and was nominated for five Off West End Awards. Troupe returns to Southwark Playhouse after its critically acclaimed productions of Dear Brutus by J. M. Barrie, which starred Miles Richardson, and The Cardinal by James Shirley, which starred Stephen Boxer and Natalie Simpson for which she won the Ian Charleson Award. It was supported by an inaugural MGCfutures Bursary Award. Troupe’s previous rediscoveries at the Finborough Theatre – Rodney Ackland’s After October, Robert Bolt’s Flowering Cherry and R. C. Sherriff’s The White Carnation, which later transferred to Jermyn Street Theatre – have been nominated for a total of five Off West End Awards.

www.troupe.eu

The Sweet Science of Bruising

Listings

Southwark Playhouse

77-85 Newington Causeway, London, SE1 6BD

Nearest Tube: Borough/ Elephant and Castle

Wednesday 3 October – Saturday 27 October 2018

Monday to Saturdays at 8pm
Tuesday and Saturday matinees at 3.30pm

Box Office: 020 7407 0234

www.southwarkplayhouse.co.uk

Twitter:

@Troupe_Theatre

@swkplay

#SweetSciencePlay

Ticket Prices

Previews 3 and 4 October: all tickets £12
From 5 October: £20, £16 (conc.)