Darlington Civic Theatre

Listings Winter / Spring 2017

Box Office: 01325 486 555

Website: www.darlingtoncivic.co.uk

*Includes £1 restoration levy

DECEMBER

Making a Manuscript

Wed 14 December 2.30pm

Tickets £5

This engaging manuscript writing workshop invites you to explore the world of Dickens’ famous A Christmas Carol; you will be guided through Victorian London and consider the influence of Dickens’ own life within his works.

You will have the opportunity to examine special editions of A Christmas Carol before working on your own Dickens-inspired Christmas tales using quill pens and ink. This workshop will be led by Eleni Veltanioti from the Charles Dickens Museum, London.

Recommended for ages 16 and over.

Please note this workshop takes place in the Institute Room, The Friends Meeting House, Skinnergate, Darlington.

All proceeds to go directly to the Civic Theatre’s restoration fund. Darlington Civic Theatre Foundation, Registered Charity Number 147625.

……….

The Changing Face of Darlington’s Hippodrome

Thurs 15 December 7pm

Tickets £2.50

Join us for an illustrated one hour talk exploring the rich heritage of the theatre, some of the key architectural and design features, as well as the challenge of preserving and restoring the building throughout its redevelopment. The evening will feature guest speakers David Wilmore, lead heritage consultant from Theatresearch and Sean McNicholas, on site Operations Manager from the building contractors, Willmott Dixon, who will share their own experiences in restoring the theatre and embracing its Edwardian heritage.

The evening will also include a heritage question and answer session with the speakers.

The Changing Face of Darlington’s Hippodrome will be the first of a wide variety of public talks and lectures over 2017, leading up to the reopening of the theatre.

Please note this event takes place in The Pease Suite, The Dolphin Centre, Darlington.

All proceeds to go directly to the Civic Theatre’s restoration fund. Darlington Civic Theatre Foundation, Registered Charity Number 147625.

JANUARY

Starlight

Sat 28 January 11.30am & 2.30pm

Tickets £4, family ticket £14 (4 people, min 1 adult)

With Chris Bostock – the storyteller

Starlight is the charming story of little possum who collects starlight from the night sky. When his mother is ill, he is sent out alone into the big wide world to find his own food. He is helped on his journey by other animals who become his friends, but lost in the dark he has to find his own way home again by starlight. Everyone who comes to hear the story will be given some starlight to take home!

Storytelling for children between 2 and 6 years old with their families.

Please note this performance takes place at Crown Street Art Gallery, Crown Street Library, Darlington.

FEBRUARY

The Royal Geographical Society (with IBG) presents

Hidden Histories: A Spotter’s Guide to the British Landscape

Sat 11 February 7.30pm

Tickets £12, general concessions £11, RGB / IBG members and one guest £10 each (quote membership number)

Join TV presenter and archaeology writer Mary-Ann Ochota on a journey through Britain’s historic landscape. What clues should you look for to puzzle out the origins of a village, or the age of a hedgerow? What are the secrets hidden in tumuli, chambered tombs and churchyards? Drawing on her new book, Hidden Histories, this talk will be packed with clues and examples of what to look for and where to go to decipher the story of the landscape around us. A must for all landscape detectives!

Mary-Ann Ochota is a broadcaster and anthropologist whose work has taken her across the world, including into the Chernobyl exclusion zone, the Algerian Sahara, across Australia’s Simpson Desert, and to the slums of Dhaka and Delhi. She writes regularly for Geographical, The Great Outdoors and The Telegraph. She has presented programmes such as Time Team and Unreported World. Her new book, published in October 2016 and entitled Hidden Histories: A Spotter’s Guide to the British Landscape, will be the subject of her talk.

Please note this event takes place in Central Hall, Dolphin Centre, Darlington.

……….

The Spark Arts, Big Imaginations and Turned On Its Head present

Sponge

Thu 23 February 11am & 2pm

Tickets £5, family ticket £16 (4 people, min 1 adult)

Roll, squeeze and pop yourself through a new malleable kind of family dance show, set to a 1970s-influenced score, perfect for babies, young children and families. Sponge is about all things spongy, a child’s ability to soak information up like a sponge and the squishy, squashy texture that fascinates children and adults alike.

Dance company Turned On Its Head makes exciting participatory theatre for early years, taking children on a creative journey, engaging audiences throughout its performances and encouraging lots of family interaction. Everything in Sponge can be made with simple materials at home so there’s plenty more fun to be had after leaving the theatre.

A performance for babies aged 4 months to children under 4, and their grown-ups

Please note this performance takes place at Central Hall, Dolphin Centre, Darlington.

MARCH

Sammy and the Snow Leopard

Sat 11 March 2pm & 4pm, Monday 13 March 10.30am & 1.30pm

Tickets £5

Sammy LOVES animals, but his Mum won’t let him have any in the house. When he hears about the ‘Adopt a Snow Leopard’ programme, Sammy reckons he’s found the perfect way to have a pet. But then a parcel arrives – and Sammy finds himself on a crazy adventure, involving stuffed animals, evil neighbours, school projects and limes…

Recommended age 5-10

Please note this performance takes place at Crown Street Art Gallery, Crown Street Library, Darlington.

JUNE

Eddie ‘The Eagle’ Edwards – Try Hard

Tues 13 June 7.30pm

Tickets* £16

Eddie ‘The Eagle’ Edwards is a unique British sporting hero with an incredible story to tell.

In Try Hard, Eddie talks through his incredible life-journey; from self-learning ski-jumping and being shunned by the sporting establishment, to the extensive surgery to rebuild his face and body following years of spectacular crashes on the snow as he set out to break world-records in stunt jumping (10 cars & six buses) and speed-skiing (106.8mph); from bankruptcy through trustees’ mismanagement, to gaining a law degree, and even how he became a most unlikely pop-star in Finland, above all, what will shine through is the steely resilience of a fearless man determined to overcome huge sporting and life hurdles.

Please note this performance takes place at Central Hall, Dolphin Centre, Darlington.

It was a cold, wet and foggy evening in Leeds yesterday, but inside the Grand we were transported to back to the glorious mid eighties in Dublin as we watched The Commitments, the new stage version of Roddy Doyle’s novel that the author has himself adapted.

Doyle’s 1987 novel The Commitments was a story with music at its heart.  The characters were revealed so vividly through Doyle’s dialogue that they spawned a trilogy of novels. The 1991 film adaptation, directed by Alan Parker, portrayed the economic and social decay in mid-1980s Dublin.  The stage version, adapted by Doyle, opened in the West End in 2013. It remains loyal to earlier incarnations of the story.

The Commitments tells the story of Jimmy Rabbitte,  a young working-class music fan who somehow turns a rather unlikely and motley crew of amateur musicians into an amazing live soul band, the finest Dublin has ever produced. We follow the auditions and the setting up of the band as they come to know each other and to learn to play together, then through the rehearsals to the all-important first gig and beyond, with all that this entails. Sex, drugs (well, alcohol) and a rock n roll lifestyle. It’s all there. And the implosion at the end.

The first part of the show is mainly concerned with how The Commitments became a band. It’s a plot driven section, full of comedy and rowdy behaviour. The second half follows the fortunes of the band as a record deal looms on the horizon, and is mainly performance based. As you’d expect from a show about soul music, the relevant cultural touch stones are belted out in a grand old fashion.

Cast-wise, it’s a strong affair with not a single disappointment amongst the young performers.  Andrew Linnie takes on the central role of Jimmy Rabbitte and does a superb job all round. Brian Gilligan as lead singer Deco holds the stage and encapsulates the whole story. With charisma and an incredible soul voice. His passion for singing those songs is unmistakable. He portrays the egoistic and nasty sides of Deco convincingly. His rendition of  Try A Little Tenderness towards the end of the show is enough to make the hairs stand up on the back of one’s neck.

Alex McMorran was unavailable so Jon Bonner played Joey the Lips with all his pontifications and does so with a charm that suits the lascivious character. Kevin Kennedy performs the role of ‘Jimmy’s Da’ (father) in a nicely understated way. The three “Commitmentettes” are played by Amy Penston, Leah Penston and Christina Tedders each one has an individually powerful voice and is fortunately given a chance to shine alone as well as in the trio. The acting from all three is spot on too. A solid supporting cast and excellent musicianship with the live off stage band led by Matthew J Loughran add to the whole production

The show features classic soul songs including I Heard It Through The Grapevine,  Knock On Wood, You Keep Me Hanging On and Mustang Sally. From the Motown medley of What Becomes of the Broken Hearted to rock’n’roll classics such as (I Can’t Get No) Satisfaction

The set, designed by Soutra Gilmour, is simple but very effective and evokes Dublin social housing as well as various other slightly seedy venues of the 80s. Gilmour is also responsible for the costumes, which work perfectly and very much depict the era.  And I know we’re not supposed to notice the technical crew but I must say how hard they worked moving the magnificent set around the Grand’s stage.  

This is much more than a bog-standard compilation musical. The dialogue has a splendid wit and the exhilaration of making music is beautifully caught. There’s a strong sense that for these kids – living in bleak council estates and struggling along in dead end jobs or on the dole – being in a band offers the one real chance of hope and escape

All in all, it’s a fantastic show.  It’s the story of a band struggling to be a band. Their struggles along the way are hilarious and when they finally make it and the pieces click into place, it’s magnificent.

In Leeds until Saturday 10 December and on tour around the UK

STRICTLY COME DANCING

10TH ANNIVERSARY

LIVE TOUR

20 JANUARY – 12 FEBRUARY 2017

ED BALLS, ORE ODUBA & LESLEY JOSEPH

ARE THE LATEST CELEBRITIES

ANNOUNCED FOR THE 2017 TOUR

TICKETS ON SALE NOW!

Former Shadow Chancellor Ed Balls, sports presenter Ore Oduba and actress Lesley Joseph are the latest celebrities announced to appear on the Strictly Come Dancing Live UK Tour, which kicks off in Birmingham on 20 January 2017.

Ed, Ore and Lesley will join fellow celebrities Louise Redknapp, Danny Mac and Daisy Lowe on the 10th anniversary tour, alongside tour host Anita Rani, and the new tour judging panel of Len Goodman, Craig Revel Horwood and Karen Hardy.

Ed Balls*, described by many as the ‘people’s champion’, became the 10th celebrity to leave the TV series on Sunday night, after losing in the dance-off to Judge Rinder. On joining the tour, Ed said: “My time on Strictly has been incredible. I’ve been overwhelmed by the huge support I’ve had from the public voting for me. Going on tour is going to be another first for me and I plan to give it everything I’ve got for the audiences across the country.”

Ore Oduba, BBC Sports presenter, who scored 36 for his Paso Doble on Saturday night’s show said: “Taking part in Strictly has surpassed my wildest dreams. So much so it’s difficult to imagine life without it! The live tour means I don’t have to wake up from this Strictly dream. I can’t wait to travel the country with my friends and meet the fantastic audience that made our whole experience possible.”

Lesley Joseph, best known for playing Dorian Green in the popular television series Birds of a Feather, exited the series in week five. On joining the tour she said: “This has been a very special Strictly series and I am very proud to have been part of it. But now I can’t wait for the tour. I’m getting ready to put my dancing shoes back on and hit the dance floor again!”

The full tour line-up, including the professional dancers, will be announced soon.

The 30 show spectacular, Strictly Come Dancing Live UK Tour, will open at the Barclaycard Arena, Birmingham on 20 January 2017. The tour will then visit the biggest entertainment venues across the UK: Metro Radio Arena Newcastle, Sheffield Arena, The SSE Arena Glasgow, Motorpoint Arena Nottingham, First Direct Arena Leeds, Manchester Arena, Liverpool’s Echo Arena, The SSE Arena Wembley, before culminating at The O2 in London on 12 February.

Tickets for STRICTLY COME DANCING THE LIVE TOUR 2017 are on sale now

20 – 22 January Birmingham: The Barclaycard Arena 0844 338 8000

(Friday 20th at 7.30pm, Saturday 21st at 2.30pm & 7.30pm, Sunday 22nd at 1.30pm & 6.30pm)

24 January Newcastle: Metro Radio Arena 0844 493 6666

(Tuesday 24th at 2.30pm & 7.30pm)

25 – 26 January Sheffield Arena 0114 256 5656

(Wednesday 25th at 7.30pm, Thursday 26th at 7.30pm)

27 – 29 January Glasgow: The SSE Hydro 0844 395 4000

(Friday 27th at 7.30pm, Saturday 28th at 2.30pm & 7.30pm, Sunday 29th at 1.30pm)

31 January – 1 February Nottingham: Motorpoint Arena 0843 373 3000

(Tuesday 31st at 7.30pm, Wednesday 1st at 2.30pm & 7.30pm)

2 – 3 February Leeds: First Direct Arena 0844 248 1585

(Thursday 2nd at 7.30pm, Friday 3rd at 7.30pm)

4 – 5 February Manchester Arena* 0844 847 8000

(Saturday 4th at 2.30pm & 7.30pm, Sunday 5th at 1.30pm)

7 – 8 February Liverpool: Echo Arena 0844 8000 400

(Tuesday 7th at 7.30pm, Wednesday 8th at 2.30pm & 7.30pm)

9 – 10 February London: The SSE Arena, Wembley 0844 815 0815

(Thursday 9th at 7.30pm, Friday 10th at 7.30pm)

11 – 12 February London: The O2 0844 856 0202

(Saturday 11th at 2.30pm & 7.30pm, Sunday 12th at 1.30pm & 6.30pm)

*Please note that due to prior commitments, Ed Balls will not be appearing at Manchester Arena (4th – 5th February).

Ticket costs: £35 – £65 (bands venue dependent)

The O2 prices are £36 – £66 (Inclusive of a £1 per ticket venue facility fee)

All ticket prices are subject to a booking fee

To book tickets please contact the venue or call 0844 875 8758 For online bookings visit www.ticketzone.co.uk or www.ticketmaster.co.uk For more information visit www.strictlycomedancinglive.com

Twitter: @scd_live_tour Facebook: www.facebook.com/strictlylive

STRICTLY COME DANCING THE LIVE TOUR is produced by Stage Entertainment and Phil McIntyre Entertainments, in association with BBC Worldwide.

For more information please contact:

Lana Lay / Neil Reading

Neil Reading PR

020 7839 2277 [email protected]

Notes to editors:

About BBC Worldwide Ltd

BBC Worldwide is the main commercial arm and a wholly owned subsidiary of the British Broadcasting Corporation (BBC). Its vision is to build the BBC’s brands, audiences, commercial returns and reputation across the world. This is achieved through investing in, commercialising and showcasing content from the BBC around the world, in a way that is consistent with BBC standards and values. The business also champions British creativity globally.

In 2014/15, BBC Worldwide generated headline profits of £138.64m and headline sales of £1,001.8m and returned £226.5m to the BBC. For more detailed performance information please see our Annual Review website: http://www.bbcworldwide.com/annualreview

bbcworldwide.com twitter.com/bbcwpress

KEEPING TO THE SCRIPT

An opportunity for budding writers to explore the world of Charles Dickens on Wednesday 14 December at 2.30pm.

As part of the Dickens in Darlington season, Darlington Civic Theatre is offering an exciting writing workshop, Making A Manuscript, where people can explore the world of Charles Dickens’ famous A Christmas Carol and be guided through Victorian London to consider the influence of Dickens’ own life within his works.

There will also be the opportunity to examine special editions of A Christmas Carol before writing your own Dickens-inspired Christmas tales using quill pens and ink.

This unique workshop will be led by Eleni Veltanioti from the Charles Dickens Museum in London. Recommended age 16 and over.

Making A Manuscript is at the Institute Room, The Friends Meeting House, Skinnergate, Darlington on Wednesday 14 December at 2.30pm.

Tickets are priced at £5

To book contact the Box Office on 01325 486 555 or for more information visit www.darlingtoncivic.co.uk. All proceeds to go directly to the Civic Theatre’s restoration fund. Darlington Civic Theatre Foundation, Registered Charity Number 147625.

THE MANY FACES OF DARLINGTON’S HIPPODROME

Darlington Civic Theatre will be hosting a talk exploring the rich heritage of the theatre on Thursday 15 December at 7pm in The Pease Suite, The Dolphin Centre, Darlington.

Darlington Civic Theatre is hosting a special, illustrated talk exploring the rich heritage of the theatre, some of the key architectural and design features, as well as the challenge of preserving and restoring the building throughout its redevelopment.

The evening will feature guest speakers David Wilmore, lead heritage consultant from Theatresearch and Sean McNicholas, on site Operations Manager from the Civic Theatre’s restoration building contractors, Willmott Dixon, who will share their own experiences in restoring the theatre and embracing its Edwardian heritage.

The evening will also include a question and answer session with the speakers.

The Changing Face of Darlington’s Hippodrome will be the first of a wide variety of public talks and lectures over 2017, leading up to the reopening of the theatre.

Tickets are priced at £2.50

To book contact the Box Office on 01325 486 555 or for more information visit www.darlingtoncivic.co.uk. All proceeds to go directly to the Civic Theatre’s restoration fund. Darlington Civic Theatre Foundation, Registered Charity Number 147625.

Flying Entertainment and AES in association with The King’s Head

 present the London premiere of

Adam & Eve… and Steve

King’s Head Theatre, London N1

21 March to 29 April 2017

 

“God made Adam and Eve, not Adam and Steve” (1977, unknown)

 

Adam & Eve… and Steve is a brand new five star musical farce set in a newly created paradise, the Garden of Eden. The basis of every love story, every romantic ballad, and every sentimental poem ever written is man meets woman, they disagree, they resolve their differences, they fall in love.   But…..

Adam & Eve… and Steve  is the story of the first couple up to a point…everything in the Garden is going according to God’s plan until the pesky Beelzebub adds the hunky Steve into the mix.  Fun, mischief and mayhem ensues as Adam & Eve compete for Steve’s affections and God tries to impose some order on the chaotic love tangle that ensues.

 

Adam & Eve…and Steve won Best New Musical at the Hollywood Fringe 2015 and comes to London after a highly acclaimed run at the Edinburgh Fringe 2016

Dale Adams (Steve) trained at the Arts Ed, London. His stage appearances include Prince Charming in Cinderella and Frankie Valli in Oh What a Night! He has also appeared at Glyndebourne and was in the ensemble for the Olivier Awards.

Michael Christopher (God) played Sir Thomas Moore in Robert Bolt’s A Man For All Seasons and Monk Tetzel in John Osborne’s Luther.

Hayley Hampson (Eve) trained at Liverpool Institute for Performing Arts and her credits include: Blue Girl in Shout! The Mod Musical; Faryl in Golden Oldies; Daisy in Pharaoh Cross the Mersey; and Sophie in Departure Lounge.

Stephen McGlynn (Beelzebub) has appeared in the West End in Mary Poppins, Mamma Mia (original cast), Les Miserables, Witches of Eastwick, and State Fair. He has also appeared in Romeo and Juliet, It’s A Wonderful Life, Hairspray, Macbeth, Beauty and the Beast and Evita.

Joseph Robinson (Adam) trained at The Guildford School of Acting and this is his professional debut.

Adam and Eve… and Steve is directed and choreographed by Francesca Goodridge. Francesca Trained at the Liverpool Institute of Performing Arts. She has worked as an actor, singer and director. Her directing credits include Shout! The Mod Musical at LIPA, Edinburgh Festival and Liverpool’s Royal Court Theatre.

The book and lyrics are by Chandler Warren, a noted US entertainment lawyer, producer and writer. Warren has written extensively for television and theatre, as well as penning numerous books and articles. He has also produced movies, for television and theatre productions, both on and off Broadway.

The original music is composed by Wayne Moore, whose previous original works include; There’s No Place Like Hollywood (Stella Adler Theatre), Freeway Dreams (The Gardenia), I Know I Came In Here For Something and The Real Desperate Housewives (Taconic Playhouse, New York).

Musical direction is by Dean Austin, whose extensive credits include Allegro at Southwark Playhouse, Zorroat the Garrick, as well as TV appearances on Jonathan Ross, Royal Variety Show and Paul O’Grady.  Set and Costume designer is Roberta McKeown, whose credits include Shout! The Mod Musical.   Roberta was Wardrobe Assistant for the UK tour of Priscilla, Queen of the Desert, and the UK tour of Jeeves and Wooster and for Disney’s The Lion King.

Lighting is by Richard Williamson, production manager for C Venues at the Edinburgh Festival; his many credits include Easter Rising at the Jermyn, Richard lll at Stratford, and Play Size at Young Vic.   Sound Design is by Django Holder who graduated from The Liverpool Institute for Performing Arts in 2016 with a BA (Hons) in Sound Technology.  This is his professional debut.

The King’s Head Theatre is London’s first and foremost pub theatre and is led by Artistic Director, Adam Spreadbury-Maher. New writing, revivals, musicals, opera, cabaret and queer work sit side by side in an unashamedly eclectic programme of work. Thanks to an in-house agreement with Equity, we’re leading the way when it comes to ethical employment on the fringe whilst our resident trainee director’s scheme continues to provide comprehensive, vocational training to the rising stars of tomorrow. With high profile co-productions, national touring and transfers to and from the biggest arts festivals in the world, we’re certainly not slowing down!

 

Listings Information:

Venue: King’s Head Theatre, 115 Upper Street, London, N1 1QN

Dates: Tuesday 21^st March – Saturday 29^th April 2017

Press Night: Tuesday 28^th March 2017

Times: Tuesday – Friday @  8.40pm: Saturday @  3pm &  8.40pm: Sunday @ 5pm

Tickets: £10 – £35

Box office number:  020 7226 8561

 

Facebook: Facebook.com/AdamEveSteve

Twitter: @Adam_Eve_Steve

 

Theatre503 23 November – 7 January.  Reviewed by Claire Roderick

Sleeping Trees patented brand of festive lunacy is back with another brilliantly bonkers mashup of panto favourites. Just as Santa is loading his sleigh, disaster strikes – the Wicked Witch steals all the Christmas Spirit, leaving Santa’s mum (much scarier) to save the day. She realises that a tiny bit of Christmas Spirit is hidden deep, deep, deep, deeeeeeeep down inside Ebenezer Scrooge, so hatches a plan to force him to rediscover his humanity and save the day.

Sleeping Trees – Joshua George Smith, John Woodburn and James Dunnell-Smith – have written a fast-paced and whip smart show that embraces every panto cliché, with the added drama of tensions in the company over potential casting for a Hollywood movie. Composer Ben Hales, accompanies the madness on a range of instruments with an endearing air of bewilderment and a range of ridiculous hats. The knowing humour whisks us through a cast of Fairy-tale characters including the seven dwarves (played by 2 actors – just wait for the handshake scene!), Snow White, the Wizard of Oz; and in Old Victorian London Town (which MUST be said in your best Christopher Guest accent) Bob Cratchett and his tiny son, and a maudlin Mary Poppins “I’m Supercalafragile…”.

Sleeping Trees are all fine physical comedians with amazing onstage chemistry, and seem to be having as much fun as the audience. There is a joyful and refreshingly filth free innocence to the whole show – it’s as if Miranda Hart and David Mitchell had triplets.

Forget those huge productions – a cast of 3 is all you need. Get down to Theatre503 and this perfectly formed panto will banish the winter blues and get the party season started. I dug out my Christmas jumper as soon as I got home. A true Christmas cracker.

Theatre N16 27 November – 1 December.  Reviewed by Claire Roderick

Wow. Just wow.

Annie McKenzie has created a wonderfully honest and heart wrenching piece of theatre about coping with grief.

On a clifftop at Beachyhead, Fiona (McKenzie) struggles to come to terms with the sudden death of her mother, armed with a biscuit tin and a flask of tea. The stages of grief are all present in this seemingly rambling monologue, expertly written to slowly reveal the true character of both Fiona’s mother, and their relationship. The initial guilt that she didn’t realise her mother had cancer, and the anger at her older sister about leaving the news via voicemail is portrayed with affecting rawness by McKenzie – all tears, snot and spit. The pain and confusion on her face are palpable. Fiona’s frustration about her mother always wanting to protect her keeps surfacing, with lots of physical hints to explain why. McKenzie’s sensitively judged gestures, pauses and movements, and repeated pleas for things lining up and being put in order subtly highlight the character’s spectrum disorder and her family’s treatment of her without laying things on too thickly.

Perhaps inspired by The Curious Incident, loud storm noise and dim light accompany Fiona’s darkest moments, and as she calms herself the light brightens and noises abate. This sort of thing usually annoys me, but it fitted perfectly with the feel of this play. Interspersed with Fiona’s emotional struggle is the tale of the skeleton woman – where Fiona’s language becomes melodic and more of a traditional storyteller. Fiona’s musings on mortality and loss are spat out, while her childhood memories trip off her tongue with warmth and innocence – the switch between these moods is handled brilliantly, showing Fiona’s inner turmoil with clarity and empathy.

McKenzie inhabits her character fearlessly, giving a moving, natural and engaging performance. I had to stop myself getting up to give the poor girl a hug.

As Fiona keeps remembering the insignificant, ridiculous details she remembers about her mother, the titles she gives her – “My Mother – The Widow” and “My Mother – The Secret Drinker” – become gentler and more loving, culminating in the story from which the play takes its name. The final, silent gesture that Fiona makes in honour of her mother is both heart-breaking and life affirming. Annie McKenzie is definitely a writer to keep an eye on. She has tapped into a deep well of emotion and produced a piece that makes you laugh, cry, and reminds you not to take your parents for granted. And she’s right, a nice cup of tea is all you need.

Waterloo East Theatre 29 November – 18 December.  Reviewed by Claire Roderick

Jest End returns to Waterloo east Theatre with a new cast and some new numbers, but with the same scathing humour and insanity.

The business of show is a fickle thing, so gone are all traces of Miss Saigon, Killian Donnelly and Bend It Like Beckham. Garry Lake fills these spots with spot on mickey takes of School Of Rock, Motown, Half A Sixpence and the closing of Jersey Boys. Lin-Manuel Miranda doesn’t escape, with hysterical numbers about Hamilton and In The Heights hitting all the right notes – with some very dodgy hip hop moves thrown in. The problem of TV and C list stars on stage still looms large in the show, along with the diversity of West End casting, and some of the shorter numbers are the hardest hitting, with a million reasons to hate Calendar Girls and Sarah Harding reading her reviews making me feel a bit like a school bully for laughing.

Some familiar numbers remain in the show, still feeling fresh and making me laugh like a loon. The Les Mis finale is simply fantastic – with the Jackman – Crowe animosity played brilliantly.

The cast all have amazing voices and are game for anything – just see their Lion King outfits in the opening number! Jemma Alexander manages to be rib achingly funny and tug at your heart strings with her portrayal of a desperate auditioning actress, and her aging Eponine and part time Christine are a hoot. Adam Bailey makes a worryingly convincing Miss Trunchbull and John Barrowman, while his Javert is deeply disturbing. Bronte Barbe’s Ariel and Billy Elliot are brilliant, and Daniel Buckley’s Hugh Jackman and rapping Cameron Mackintosh will make you spit out your drink.

Jest End is perfect entertainment for fans and haters of musicals alike. Fantastically funny and full of bite, this show is just what you need on a miserable Winter night. GO AND SEE IT!!!

The Full Monty opened last night to the delight of hundreds of screaming women in the Leeds Grand Theatre audience.

Based on the 1997 hit film, some stage adaptations of a silver screen classic can miss the target set by the original – but hats off to The Full Monty, it did just that.  Retaining the film’s soundtrack that includes songs by Donna Summer, Hot Chocolate and Tom Jones, to provide a version of a story the audience already knows so well.

More a play with music, dancing and, of course, stripping it was poignant at times, touches on some serious issues and absolutely hilarious most of the time

Set in the late 1980s, it tells the story of a group of skilled men laid off from a Sheffield steel mill who aim to raise some much needed cash by mounting a one-off strip show, and is delivered with dry humour and an infectiously upbeat finish.

Two of the men, Gaz (Gary Lucy) and Dave (Kai Owen), are best friends.  Gaz hasn’t quite grown up yet and fails at responsibility, even though he has a 12-year-old son, Nathan (shariing the part are James Burton, Monty Poole, Reiss Ward and Felix Yates), and an ex-wife, Mandy (Charlotte Powell), demanding he pay his child support or risk joint custody.

Dave’s self-image because of his weight and lack of a job is so bad it’s hurting his relationship with his loving wife, Jean (Fiona Skinner).

But the six are not the Chippendales, more oily rags than oiled muscles and how they try and overcome their embarrassment and lack of co-ordination and their,em, deficiencies makes for some very funny moments During their first rehearsal, the six guys can’t dance in sync. While one is pivoting, another is doing something totally different. It’s not until Horse brings up the football that they finally begin to get their moves together. There’s terrific work from Louis Emerick’s Horse – who has a bad hip, Anthony Lewis’s Lomper – who is saved from suicide, Andrew Dunn’s Gerald – who hasn’t told his wife he’s been unemployed for 6 months and Chris Fountain’s Guy, each with their own back stories (or in Guy’s case, an imposing front story in his well-stocked briefs) that have brought them here.

I must also mention Pauline Fleming, playing multiple characters, but her role of Bee who whips down her knickers, baring her backside to all as she pee’s against the Club wall sets the tone for the entire play

Robert Jones’s set astonishingly amalgamates a derelict steel mill, a street, a dole office and a working men’s club. Jack Ryder’s self-effacing direction perfectly tempers laughter and sentiment. His cast is superb: a powerful ensemble of strong characterisations, all finely calibrated around the central father-son relationship so convincingly realised by Gaz and Nathan

Do the guys raise the cash? Do they learn to accept their bodies? Do they repair their relationships with their wives and child? And, do they take it all off?

You’ll have to see the show for the answers to those questions, but it’s definitely a show worth seeing in order to find out the answers to those questions. “The Full Monty” had the audience laughing hard, no matter their age or gender. It has adult content like language and sexual suggestions, but it’s a show you want to attend to let it all go and have a great night. I couldn’t laugh any harder than I did Monday night.