Ambassadors Theatre 13 December.  Reviewed by Claire Roderick

Ferris & Milnes’ West End debut – sadly just a one-off performance – should be available on the NHS as a cure for the Winter blues. Full of festive magic and performed with warmth and wit, Christmas Cracker is a perfect Christmas show.

Jam-packed with great numbers from a wide range of genres – Martin Milnes archly states that Dominic Ferris has a modern theatre and pop background, while he works with classical music and legitimate theatre! – the show has something for everyone.

The first act takes place in Martin’s living room, where the Steinway grand piano he just happens to be “piano sitting” comes in very handy for rehearsing their Christmas concert. This act has the feel of a classic 70s sitcom (in all the best ways), with Dominic’s calm manipulation of Martin to open his mind to new performance ideas creating some hysterical moments. The young performers of the Arts Ed choir seem to revel in their stereotype characters, and bounce off Ferris and Milnes deliciously, especially when being berated for rapping by Milnes – “You should be listening to Ivor Novello!” There’s also a (very weird) love triangle.

Act two is the actual concert – slick and stunning, with less comedy shtick and more musical numbers.

Dominic Ferris is a sublime pianist, with a lovely versatile voice. Martin Milnes is a vocal gymnast – switching between tenor and Mariah Careyesque high notes with consummate ease. Their voices blend beautifully and they perform together with intuition and infectious joy.

The set list reads like a whirlwind romp through the best of musical theatre. Decomposing Composers / By Strauss is a charming rollcall of Milnes’ favourites, Let’s Call the Whole Thing Off perfectly sums up their differences, and many other delightful duets. The solo performances are exquisite – each man showcasing his own style and performed with passion and integrity. Milnes’ Italian Street Song and You Could Drive Me Crazy are a masterclass of vocal range and physical comedy, and he demonstrates his versatility with his heartfelt What Kind of Fool Am I?

Ferris’ versions of If I can Dream and Daniel are gorgeously husky, and his piano solos just carry you away on a wave of energy and rhythm.

The choral pieces are simply stunning – with the choir giving their all in Carol of the Bells, Sir Christimas and O Holy Night. The show builds up into a full Christmas frenzy that would make Scrooge jump on stage to join in – it’s like being enveloped in a giant Christmas jumper and offered a bottomless glass of eggnog – all that was missing was snow. Glorious entertainment – I just wish they had more performances – I could watch this show on loop.

What a pleasure it was to travel to Sheffield Crucible to see this new, 5* production of Annie Get Your Gun with its superbly tuneful, wonderfully witty score by Irving Berlin.

The show is blessed with a freshness, charm and humour that are completely captivating, as well as one of the greatest collections of songs in the history of musical theatre. Berlin’s tunes and lyrics have embedded themselves into the public’s consciousness. Annie Get Your Gun contains a mind-boggling array of beloved and delightful as ever standards. Including There’s No Business Like Show Business,  which sums up the entire process of putting on a theatre performance.  In this performance it’s’ an acapella version that starts the show from the back of the auditorium and the spotlight follows Frank onto the stage through the audience

Still deliciously fresh, sweet and funny seven decades after its premiere Annie Oakley and Frank Butler, find their love for each other undermined by professional rivalry. It’s hilariously encapsulated in one of the show’s most famous songs, Anything You Can Do. Other hits include Doing What Comes Natur’lly, The Girl that I Marry and the beautiful love song I Got Lost in His Arms

Anna Jane Casey as Annie Oakley is a pocket rocket phenomenon, a sophisticated performer, the twang in her voice is very much American and you’d never guess she was from Lancashire.

Frank Butler. Ben Lewis, is very much a dashing he-man who can make you understand Annie’s comic love at first sight near-swoon.

With a huge cast of 22 adults and 3 children it would be hard to mention everyone but mention must be made to Maggie Service as Dolly Tate the demon spinster and Frank Butler’s assistant – she spends most of the show in very little but with some amazing legs – and Lauren Hall as her underaged kid sister Winnie add much to the comic and musical pleasures of the production. Cleve September as Winnie’s half-Indian boyfriend is one of the show’s outstanding stars and the romance between the two is an interesting side story. Nicolas Colicos is fabulous as  Buffalo Bill; Timothy Quinlan his canny business adviser Charlie Davenport and Karl Seth’s nicely judged Chief Sitting Bull

With Laura Hopkins’ set designs, Alistair David’s vivid choreography and Paul Herbert’s Musical Direction all under the direction of  Paul Foster combines for a truly magnificent show.  Already extended until 21st January – this is a show not to be missed

Wildcard Theatre and the White Bear Theatre present:

WHAT’S ON AT LEEDS GRAND THEATRE 2017

leedsgrandtheatre.com / 0844 848 2700

Twitter: @grandtheatrels1 

THURSDAY 15^th DECEMBER TO SATURDAY 7^TH JANUARY

NORTHERN BALLET PRESENT

BEAUTY & THE BEAST

NATIONAL THEATRE PRODUCTIONS PRESENT

JANE EYRE

This innovative reimagining of Charlotte Brontë’s masterpiece is a collaboration between the National Theatre and Bristol Old Vic.

**********************

TUESDAY 22^ND TO SATURDAY 26^TH AUGUST

THE WEDDING SINGER

STARRING RAY QUINN, CASSIE COMPTON, ROXANNE PALLETT AND RUTH MADOC

It’s 1985. Hair is huge, greed is good and rock-star wannabe Robbie Hart is dumped by his fiancé. Will he follow a career on Wall Street or get back into the groove and follow his dreams?

Craig Revel Horwood directs million selling X Factor winner Alexandra Burke in the hit musical comedy Sister Act at the Lyceum Theatre from Monday 16 – Saturday 21 January. 

Based on the smash-hit movie starring Whoopi Goldberg and Maggie Smith, Sister Act tells the hilarious story of Deloris Van Cartier (Alexandra Burke), a disco diva whose life takes a surprising turn when she witnesses a murder and under protective custody, is hidden in a convent. Disguised as a nun and under the suspicious eye of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.

Alexandra Burke recently seen on the Lyceum stage in The Bodyguard, originally rose to fame after winning the fifth series of The X Factor. Her debut number one single Hallelujah sold over one million copies in the UK, a first for a British female soloist.

Featuring original music by Tony and eight-time Oscar winner Alan Menken (Disney’s Aladdin, Beauty and the Beast, Enchanted), dazzling dance routines and songs inspired by Motown, soul and disco, Sister Act is the funniest and funkiest musical around.

Sister Act comes to the Lyceum Theatre from Monday 16 – Saturday 21 January.  Tickets 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 £28.00 – £49.00 (a transaction fee of £1.50 (£1.00 online) applies to all bookings made at the Box Office, excluding cash).  Concessions and group discounts are available.

STRICTLY COME DANCING

10TH ANNIVERSARY LIVE TOUR

20 JANUARY – 12 FEBRUARY 2017

TOUR LINE-UP CONFIRMED

Louise Redknapp & Kevin Clifton

Danny Mac & Oti Mabuse

Ore Oduba & Karen Clifton

Ed Balls & Katya Jones

Daisy Lowe & Aljaž Skorjanec

Lesley Joseph & Gorka Marquez

AND SPECIAL GUEST STAR IN MANCHESTER – JUDGE RINDER

The final line-up for the 2017 Strictly Come Dancing Live UK Tour is today announced and the pairings are Louise Redknapp and Kevin Clifton; Danny Mac and Oti Mabuse; Ore Oduba and Karen Clifton; Ed Balls and Katya Jones*; Daisy Lowe and Aljaž Skorjanec; Lesley Joseph and Gorka Marquez.

Completing the line-up for group numbers and professional dances are six of this series’ fabulous professional dancers Giovanni Pernice and Janette Manrara, AJ Pritchard and Chloe Hewitt, Oksana Platero and Neil Jones.

The celebrities and professional dancers will be joining tour judges Len Goodman, Craig Revel Horwood (who also directs the show) and Karen Hardy, along with 2017 tour host, Anita Rani.

Manchester fans are in for a special treat, as Judge Rinder will perform at all three shows at Manchester Arena (4 & 5 February), dancing with his partner from the TV series, Oksana Platero. The criminal barrister and television court judge said: “I’m delighted to be joining the Strictly tour in Manchester and I’m particularly excited to be performing in such an enormous arena. I can’t wait to share my love of dance in such an amazing city.”

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 on 4th and 5th February, 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). Special guest star Judge Rinder will be performing.

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.

Grand Opera House, York.  Reviewed by Marcus Richardson

The Grand Opera House in York chose Aladdin for this years pantomime, traditionally set in China. The new script was tailored for the city of York with various jokes about Acomb, this made a lot of the audience laugh (the ones from York).

The celebrity cast were there for the traditional pantomime feel of getting famous people in and chucking them on stage. The staging was one of the best aspects of the play, with the flying carpet, I was completely mind blown; as I was expecting to see a video of Aladdin on the carpet, but they used a lift in the pitch black and lit up the carpet and Aladdin. what made this panto so different from the others was the use of 3D video in the second half, everyone loved it and I mean loved it; people were jumping out of their seats out of amazement.

Acting was good on the most part, Aladdin played by Carl Tracy from a children musical group called ‘Go!Go!Go!’ Was surprisingly good, his vocals giving him a lot of the power, the main thing to note is his stage presence; he was so confident and played it like a panto hero should to do. Suzanne Shaw played the Princess Yasmin, Aladdin’s love interest, who was from the mid 2000s pop group Hear’say. She. Can. Sing. She was an absolutely amazing singer with powerful songs requiring so much power and effort. Stuart Wade was by far the best when interacting with the audience and making them join in the action, his energy was so high it made such a big difference and branch the night up 10 notches. And the Dame, Widow Twanky played by Steve Wickenden, was hilarious, with the banter between her and Dennis (an unfortunate audience member) she had various costumes that made people laugh and he played her, whist also being him very well.

However I love a panto villain as much as the next person, but Paul Sinha from the quiz show ‘The Chase’ did not have a lot of dimension, it felt like he was reading from a script for the first time. The character felt very static and flat, was this because of nerves? I hope so because you can have so much fun playing the villain. He just needs to enjoy the stage and become the guy that we know from The Chase.

The night over all was really good, I was pleasantly surprised with the quality and the production itself, claiming to be ‘York’s Biggest Panto Ever’ might have been an overstatement, but it did entertain the kids and families in the audience. Do not compare it to the York Theatre Royals Panto, as they are both very good and this one is the more traditional panto, which some people prefer and some don’t.

Lawrence Batley Theatre, Huddersfield.  Reviewed by Dawn Smallwood

Cinderella opens at Huddersfield’s Lawrence Batley Theatre with a ball – there is a festive atmosphere of Christmas songs being played and a glittering stage greeting the audience. This is the theatre’s first ever professional pantomime, written by Andrew Pollard and directed by Joyce Branagh.

A traditional pantomime is always based on a tale and in this case, Cinderella. This popular fairy tale is loved by many – a story of rags to riches. Cinderella (Nisa Cole) is a slave to her wicked stepmother and her ugly stepsisters. However with her friend, Buttons, and the magical mentoring from her Fairy Godmother, anything is possible including going to the ball and meeting her Prince Charming.

This production has everything one expects and loves about a traditional pantomime. The Fairy Godmother (Natasha Magigi) serves as a narrator as well as Cinderella’s saviour. Buttons, servant and only friend of Cinderella, interacts and entertains the audience who shouts his arrival “bing bong bang, you’re in Buttons’ gang!” throughout. Magigi doubles up as the unpopular wicked Baroness Hardup, Cinderella‘s stepmother, and the audience reacts appropriately when she refers to them as “Huddersfield’s horrors and hillbillies”. Kylie and Miley Hardup, the stepsisters, (Richard Hand and Michael Hugo) make an unorthodox entrance with their outrageous costumes and they capture the audience’s attention with their nonsensical innuendoes and tongue in cheek.

Pantomimes are known to be localised and this production is no exception with references to Prince Charming (Adam Barlow) known as the “Prince of Dewsbury” and that “best ladies reside not in Wakefield but in Huddersfield”. Dandini (Stephanie Hackett) is originally “Danielle from Huddersfield” and the stepsisters’ shopping at Kirkgate’s shopping centre and their association with the “Mirfield Majorettes”. There are also references to celebrities, current affairs and pop stars which everyone can relate to and its puns and connotations that fit in the script.

Well known songs, some arranged as medleys, and familiar live music is arranged effectively by Rebekah Hughes and its performances are choreographed by Rachel Root. Sing-a-longs are obviously encouraged which guarantees maximum participation from the audience and also the usual pantomime lines such as “oh no it wasn’t”, “oh yes it was”, “it’s behind you” and so on.

The Fairy Godmother poetically summaries the moral of the story and this is relayed at the beginning and at the end of the pantomime. This shines through the character of Cinderella and how the good conquers the evil combined with self belief as summed up by the cast singing the cover of Neil Diamond’s I’m a Believer.

Cinderella certainly has something for everyone. With stunning sparkling sets and colourful costumes, courtesy of Glitter Pantomimes, this talented cast certainly delivers a pantomime fitting for royalty and a night at the “ball” is guaranteed. A festive treat waits at the Lawrence Batley Theatre.

RAISING MARTHA

NEW CASTING ANNOUNCED

WASTED, MISFITS & GAME OF THRONES’ ACTRESS GWYNETH KEYWORTH JOINS CAST AS MORGANA ROBINSON WITHDRAWS FROM PRODUCTION FOR PERSONAL REASONS

OLIVIER AWARD WINNER FOR SHOCKHEADED PETER & DR WHO’S ‘DAVROS’

JULIAN BLEACH ALSO JOINS CAST

TO STAR ALONGSIDE HARRY POTTER & DROP THE DEAD DONKEY STAR JEFF RAWLE, TOM BENNETT, JASPER BRITTON & GAME OF THRONES’ JOEL FRY

IN DARK NEW COMEDY

Animal Rights. Family Secrets. Grave Consequences. 

Raising Martha, a brand new dark comedy by award-winning writer David Spicer, and directed by Michael Fentiman, will have its world premiere at Park Theatre from 12 January 2017, playing until 11 February, with a press night on Tuesday 17 February.

Morgana Robinson has unfortunately had to withdraw from the production due to unforeseen personal reasons, but the producers are happy to announce that Gwyneth Keyworth will join the cast to play ‘Caro’. Keyworth has most recently starred as ‘Alison’ in E4’s cult show Wasted, with other notable screen appearances in Channel 4’s Powder Monkeys, HBO’s Game of Thrones, ITV’s Dr Thorne and E4’s Misfits. Described by The Guardian’s Lyn Gardner as ‘heartbreakingly good’ in the Bristol Old Vic production of The Life and Times of Fanny Hill, she was most recently seen in the Globe’s acclaimed revival of The Heresy of Love.

Julian Bleach, co-creator and MC of Shockheaded Peter (2002 Olivier Award for Best Entertainment), best known for his role as the evil ‘Davros’ in Dr Who, and recently seen in the acclaimed Grinning Man at the Bristol Old Vic, joins the company to play ‘Roger’. Other screen credits include Torchwood, The Sarah-Jane Adventures, Psychovilleand The Borgias, whilst his stage credits include Oliver! (Theatre Royal Drury Lane), The Firework Maker’s Daughter(Sheffield) and Every Good Boy Deserves Favour (NT)

Gerry and Roger’s mum has gone missing. Well, most of her has…

The unwitting victims of animal rights activists campaigning for the freedom of the family frog farm’s slimy inhabitants, the brothers must bring in the hapless Inspector Clout to establish the whereabouts of their long-dead mother. An absurdly funny, dark comedy starring the finest comedy ensemble live on stage, Raising Martha tackles terrorism, animal rights and six-foot frogs!

As previously announced, Tom Bennett (Netflix’s Mascots, E4’s Phone Shop) will play ‘Marc’; Jasper Britton (Richard II, RSC, The Libertine, Theatre Royal Haymarket), will play ‘Gerry’; Joel Fry (ITV’s Plebs, HBO’s Game of Thrones, Sky’s You, Me and the Apocalypse) will play ‘Jago’; and Jeff Rawle, (Channel 4’s Drop the Dead Donkey, Handbagged, Tricycle / West End, Harry Potter & The Goblet of Fire) will join the cast to play ‘Inspector Clout’.

Raising Martha is produced by Michael James Cox and Tom O’Connell, directed by Michael Fentiman, with set and costume design by Rebecca Brower, sound design by Max Pappenheim, lighting design by Eliot Griggs, costume supervision by Ryan Walklett, and casting by Anne Vosser.

Michael James Cox said, “I’m very excited and proud to be producing this hilarious new comedy along with Tom O’Connell Productions. This project has been very close to my heart for a long time and I’m thrilled to be working with such a wonderful theatre.”

Tom O’Connell said, “After our sell-out success with The Boys in the Band, we are thrilled to be working on a brand new piece of theatre with a stellar comedy cast who I know will be electric to watch in the intimate Park Theatre. We send on our best wishes to Morgana, who was a pleasure to work with, and are thrilled that the very talented and hilarious Gwyneth Keyworth is joining the family.”

REVIEW: SLEEPING BEAUTY (Sunderland Empire) ★★★

December 12, 2016 

For: West End Wilma 

https://www.westendwilma.com/review-sleeping-beauty-sunderland/

Empire Theatre Sunderland’s annual pantomime, this year, comes from the reliable UK Productions stable providing all the traditional ingredients such a glitzy show should offer. Sleeping Beauty was warmly received by a packed auditorium of excited youngsters on press night.

Sleeping Beauty tells the well-known story of a Princess (Amy-Leigh Hickman) who is cursed by evil witch Carabosse (Vicky Entwistle) and is in danger of death if she pricks her finger on a spinning wheel before she turns 18. Thankfully the Princess has a Fairy Godmother (Faye Tozer) that changes the curse so that if the Princess does prick her finger, she’ll go to sleep for 100 years rather than die.

As is tradition with panto, the plot is merely a vehicle to hang the set pieces and jokes on whilst keeping the audience’s attention. The show mixes in pop culture references with well-known songs, regional mentions such as Fairy Primarni from Marley Pots to the brilliantly-named King Winston of Witherwack and topical jokes.

The first act of this well known fairy tale whizzes along at breakneck speed, the cast are on fire and the chemistry between them is fun, it’s great to see them all attacking the show with plenty of energy and commitment. None more so than from the excellent Andrew Agnew as Silly Billy, he whizzes around the stage like a Duracell bunny on speed, he has a great rapport with the audience and never fails to bring a sense of mischief to proceedings with his slapstick humour and infectious audience interaction.

Vicky Entwistle’s delightfully evil Carabosse steals the show and performs brilliantly whenever she’s onstage – on the ground, in the air, singing. Imagine Janice Battersby playing Angelina Jolie’s Maleficent and you’ll get the idea. She can sing and she has a fabulous pair of legs for her high kicking dance number.

With Princess Rose kissed and awoken ten minutes into the second act, extra plot is required to fill the remaining scenes. Here, in the lead up to the Royal Wedding, Carabosse decides to kidnap the Happy Couple and marry the Prince, only to be thwarted when Princess Rose escapes and revives Prince Phillip with true love’s kiss.

Marcus Knibbs, as the King, gives a jolly performance and his rap attack with Silly Billy is a real highlight. Amy-Leigh Hickman and Arthur Boan as Sleeping Beauty and the Prince are a well matched and a believable couple. And Bobby Crush is outstanding as Nurse Nelly, the outfits are as fabulous as a Dame should be and his flirting with Danny in the audience is hilarious. For me, it was a shame, that he only had a tiny segment in which he could play piano – and I would have liked to have seen and heard more. Faye Tozer’s Fairy Snowflake was good – with her script packed with Step’s references and she got to sing a Steps medley during the show.

The Kathleen Davis Stage School, Muriel Harrison School of Dance and Drama and the Shameem Karim School of Performing Arts provided the dancing village children – including a tiny tot who played an adorable lamb.

Packed to the rafters with joke after joke and obligatory digs at the local area the humour is well balanced for the children as well as the adults in the audience. The visual highlight of the show is during the Prince’s time travelling journey, utilising a clever use of lighting and projections. Directed by Andrew Agnew he has delivered a fast-paced and slickly produced pantomime that provides plenty of fun – the magic mirror scene is a hoot and a stunning lighting design brings plenty of colour to the proceedings. An enjoyable evening in Pantoland with a first-rate cast. At two hours forty five minutes including the interval it is a little long and some of the younger members of the audience start to lose their attention spans towards the conclusion of the evening. But for an evening of family fun it would be hard to beat.