Park Theatre 5 May – 4 June.  Reviewed by Claire Roderick

Wow. What a show.

Dougal Irvine has updated John Gay’s Beggar’s Opera, slamming it into the summer of 2012. Peachum has become a corrupt newspaper mogul, Lockitt is the buffoon, dad-dancing, Mayor of London, and Macheath is an “artiste” busking and stirring up anti-capitalist feeling with his group of well-meaning but useless protesters – the 99%ers.

This isn’t biting satire, but it is very funny, with digs at the media, social media and capitalism. The bleak reality that nothing has really changed since 1728 when John Gay wrote The Beggar’s Opera is slightly overdone, but not overbearing. The script is all delivered in rhyming couplets, which could have become annoying, but was done with an occasional wink to the audience and such energy that it felt just right. Macheath’s lines include a lot of apologies and critiques of bizarre happenings on stage, keeping the audience in the palm of his hand during weaker plot moments. Irvine’s lyrics are just brilliant – he gets funnier with a tune. The use of different styles of music, and the insertion of a scathing line in the middle of a sweet song keeps you on your toes, and every number is memorable.

With a set consisting of scaffolding poles and cardboard boxes, Lotte Wakeham’s production is all about the performances. The cast are all fantastic – with strong and versatile voices. George Maguire struts around the stage like a rock god, and sings like one too, oozing charisma even when Macheath is in a downward spiral. The standout performances come from Natasha Cottriall as Lucy Lockitt – full of text speak and MIC mannerisms while she delivers killer rhymes – and Lauren Samuels as Polly Peachum – superbly dippy as she worships the holy pigeons. Their numbers are brilliant, especially Sadder Than Me – a vocal duel that has Polly bemoaning the state of the world, whilst Lucy remembers the trauma of a broken Playstation – the range of styles in that single number is mindblowing, ending with a full on soprano screech off. Amazingly, this musicality is produced with simply keyboards and guitar, with cast members joining in with cello and cajon when needed (acknowledged in the script!)

The Buskers Opera is a wonderful show – full of fun, politics, murder, great songs… and pigeons. A must see show – get your ticket today.

New Wimbledon Theatre 2 – 7 May. Reviewed by Claire Roderick

On paper, I should have loved this musical. But I left disappointed, feeling as if I’d watched some low budget daytime movie on Channel 5.

Based on the 1984 film, Footloose tells the story of Ren McCormack, who leaves Chicago with his newly separated mother to move in with his uncle in Bomont, West Virginia. Ren clashes with the locals, especially Rev Moore, who oversees the town council. Following a fatal accident, dancing is banned in Bomont, but Ren takes his friends, including Rev Moore’s daughter Ariel, to a dance hall out of town, and they decide to hold a dance of their own. They need the council’s permission though, and Ren must try to find common ground with Rev Moore.

This is a deliciously corny story, with comedy pal Willard for Ren to coach in dance and love, and the production is cheesier than aisle 3 in Waitrose, especially the Legs and Co. style choreography, but it just didn’t feel like a coherent show. Adapted from his own screenplay by Dean Pickford and Walter Bobbie, the script is pretty standard fare, with some great one liners, but it is the musical numbers that let it down. Apart from Footloose (full of energy and fun), Holding Out For A Hero (belted out with glee and VERY tongue in cheek), Let’s Hear It For The Boy (hysterical) and a couple of other familiar songs, the remainder are forgettable, with awkward rhymes and trite lyrics, especially the numbers that are meant to be deep and meaningful. Perhaps the show’s creators should have leaned more towards a jukebox musical and used the entire film soundtrack? As it is, the elements just don’t gel.

Director Racky Plews’ decision to use actor-musicians is a gimmick that doesn’t quite work, the only payoff being during the town council scene. The cast are mostly talented musicians, but this aspect just got a little messy, with one poor girl clutching her instrument silently all the way through a slow number.

The cast did well with the material they had to work with – Luke Baker is a livewire Ren, a great little dancer and with a nice comedic touch, especially in the scenes with his mother (Nicky Swift – a hoot in every role she plays in the show. Just watch her skate!), Hannah Price has a lovely voice as Ariel, and just about manages to keep the audience’s sympathy with her difficult character before we hear her backstory. Nigel Lister and Maureen Nolan are landed with the worst songs in the show, but do a fine job. Joanna Sawyer’s Rusty (what a voice!) and Lee Brennan’s Willard provide the heart of the show with their sweet, ridiculous romance, but I have no words to describe Brennan’s performance. Don’t get me wrong, he still has a lovely husky voice, but his acting choices seemed to be inspired by Scrappy Doo, Gary Coleman and the Firey gang from Labyrinth. Funny at first, but bizarre, and he is either going to stab himself with that toothpick or dislocate his jaw if he keeps that chewing action going throughout the run.

Perhaps if I hadn’t seen the film so many times I might have been more impressed, but I wasn’t feeling the joy of the rest of the audience as they got up to dance at the end (to songs from the film). Footloose the Musical is a decent enough show, but it just lacks that class and sparkle that would make it great.

York Theatre Royal.  Reviewed by Marcus Richardson

A perfect novel loved by many, and it even had its own TV series, so it seemed great that it was coming to the stage. I was excited to go and see this world premiere of the play and I had high hopes as previous York Theatre Royal work I’ve seen was outstanding and entertained me thoroughly, however this was not the case. I enjoyed the acting, the stage and the style of theatre; where it let me down was the plot, well the adaptation, it took far too long for anything to happen.

The death of Lord Marchmain (Paul Shelly) took far too long and I felt very bored whilst waiting for him to die, it took 20 minutes, and by the end of his life I felt no emotions because I was so bored. I found the first half much more entertaining than the second, this was because of the events in the play and the eccentric character of Sebastian (Christopher Simpson) who made the first half a much more enjoyable which as he spiced the plot up and provided drama and sexual tension. A great shout out to Shauna Snow who played all male characters of Rex a Canadian, Bridey the eldest of the Marchmain children and Kurt a German lover of Sebastian. She played each of the characters very well. The multi-role was one of the greatest displays I have ever seen, with character changes on stage, she still made the characters believable.

The stage itself was very clever and minimalistic with a back from of moving black panels and hidden trap door of the floor of the stage, these hidden trap door had items in like wine glasses, and other props that made for a quick and effective scene change, I loved the stage as it created this blank canvas to which it relied on the actors to make the audience believe the world they were in, it was a great contrast to the acting its self as the character were quite naturalistic except of Sebastian as he was so outlandish. I enjoyed certain parts of the play but for me it didn’t entertain me and I left the theatre disappointed and let down. I have to feel sorry for the director Damien Cruden as I think he did an excellent job but the material he was given was poor and slow. It will be on tour across the UK and will be coming back to theatre royal in June time.

King’s Head Theatre 29 April – 21 May.  Reviewed by Claire Roderick

Islington transforms into Frottage III for this cult classic, and the atmosphere in the tiny theatre is perfect for this show. Saucy Jack’s sleazy bar is staffed with colourful characters dreaming of a better life, but the shadow of the Slingback Killer looms large, picking off cabaret acts one by one. Sounds like a job for the Space Vixens – their mission is to fight crime and liberate the universe through the power of disco.

Over the top acting, pouncing on audience members, innuendo-laden script, fabulous costumes and a thumping disco beat – a perfect night out.

Every song is wonderful – Fetish Number From Nowhere and Park My Bike are hysterical, and the barnstorming Glitter Boots saved My Life and All I Need Is Disco just make you glad to be alive.

The whole cast are fantastic, with great voices – the antics of the frankly insane Tom Whalley as Dr Willy von Whackoff will have you howling with laughter, and from the moment they appear in a blaze of light, the Vixens, Jubilee Climax (Jessie Birkett), Anna Labia (Lorna Hall) and Bunny Lingus (Zoe Nicholls) own the stage in their glitter boots whilst toting hairdryer guns. Ashton Charge is a very sweet Sammy Sax, and Kristopher Bosch’s Mitch Maypole is like the Duracell bunny dancing around the stage. Hugh Stubbins’ Jack is fantastically slimy, but strangely appealing, even in that vest. Sophie Cordwell James is a tiny but tough Chesty Prospects, and Caspar Cordwell James is born to play Booby Chevalle.

Saucy Jack is a spectacular show, full of energy and filth, but with an underlying sweetness urging you to follow your dreams. Once you’ve seen this, you’ll want to be a Vixen too… or maybe you’ll go and buy some cling film?

Brilliant – go and see it.

Chelsea Theatre 28 April – 7 May.  Reviewed by Claire Roderick

Celebrating the 400th anniversary of Shakespeare’s death, Tony Diggle’s new play has great potential – it just needs some judicial trimming.

In the Heavens, Shakespeare, Ben Jonson, Christopher Marlowe and George Bernard Shaw spend their time bickering over each other’s work. Shakespeare summons Puck to take him down to London in 2016, and writes a new play about the dealings in the City.

These sections are very entertaining – the angel supervising the characters makes Phil Mitchell seem sweet and gentle, prompting some great reactions from the cast. The interplay between the players is amusing, with pompous Shaw lecturing and criticising Shakespeare’s characters constantly. Shakespeare’s visit to modern London, showing that nothing has really changed, despite his amazed reactions to the city skyline works well. The performance of his 38th play is a highlight – with characters including Enterprise, Bonus, Treasury and Small Investor – lampooning board meetings and corporate greed in Shakespearean verse.

Where the play falls down is in the scenes depicting Shakespeare’s life in Stratford – long rambling scenes between Shakespeare’s father and Anne Hathaway, and then Shakespeare and his daughter stop the flow of the production. We learn about his hoarding malt and his daughter’s naughty husband, but these scenes feel like they should be in another, less interesting, play.

Jonathan Coote is great as Shakespeare, at his best when using Shakespeare’s own words. Sue Appleby’s Puck is airy and alien, and Caitlin McMillan’s predatory Mephistopheles prowls around the stage like she owns it.

The strengths of A Kingdom For A Stage outweigh its weaknesses, and this has the beginnings of a fun and interesting play.

York Grand Opera House, 26 April 2016.  Reviewed by Michelle Richardson

Well what can I say about Joseph and the Amazing Technicolour Dreamcoat?

My friend and I were fortunate enough to go along to the opening night at the Grand Opera House in York on Tuesday. Neither of us had any idea what we were about to see. We thought it was just going to be a biblical story with a few songs, after all everyone has heard “Any Dream Will Do”. How wrong we were! All I will say it is bizarre and I cannot believe it has been around for over 40 years and I had not heard about how unusual it was.

Essentially it is a biblical story but with country and western, French and calypso themes thrown in, and who can forget Elvis? The story is basically about Joseph, who is the favourite son on Jacob, much to the disgust of his 11 brothers, who then sold off into slavery.

With Joe McElderry, X Factor winner from 2009, playing Joseph it was a camp and colourful show from beginning to end.

Lucy Kay, runner up on Britain’s Got Talent, was the narrator, on stage throughout. She did a wonderful job guiding us through the story with some strong and powerful vocals. Joining her on stage at all times were the Joseph Choir provided by Stagecoach Theatre Arts School, York, who did themselves proud and supported the cast well.

The brothers and handmaidens put on an energetic show with their comic timing, costume changes, singing and dancing. Look out for the inflatable sheep, made us giggle.

We then came to Elvis??!! Emilianos Stamatakis is making his UK debut as the Pharaoh/Elvis. He did a great Elvis impression with all that hip swinging and stage presence.

Joe McElderry put in a solid performance as Joseph. I was pleasantly surprised by his vocals, they were rather good, after seeing him on X Factor I thought he was going to be a bit wishy washy, but I was wrong. His singing of Close Every Door was outstanding and was the definite highlight of the show for me.

I’m still a bit baffled by it all, but what do I know. The packed audience loved it and they gave a standing ovation at the end and we all got up and boogied along with Elvis? and the cast.

Joseph is on at The Grand Opera House York until Saturday.

WORK BEGINS TO ‘REVEAL THE CHARTERHOUSE’

LONDON’S BEST KEPT SECRET SET TO OPEN TO THE PUBLIC FOR THE FIRST TIME IN ITS 66O YEAR HISTORY

Living the Nation’s History since 1348

The Charterhouse, set deep within stone walls in the heart of Clerkenwell, is a remarkable assembly of historic buildings dating from the 14^th century.  Over the years it has been a religious site, a grand Tudor mansion, a school and, as it has remained for over 400 years, an almshouse. In November 2016 parts of the Charterhouse will be open to the public for the first time in its 660 year history, revealing to the public the great story of this sprawling urban oasis at the heart of London.

With its partner the Museum of London, the Charterhouse is creating a new museum within the Tudor mansion, as well as a Learning Centre and an exhibition space, which will tell the story of the Charterhouse and its role in key moments in English history, using artefacts from its own collection, together with others from the Museum of London and other collections. This new facility will bring to life the history of the building, highlighting its place in national affairs and securing its future.

The story of the Charterhouse is the story of our nation. It begins in 1348 during the Black Death when the land was used as a burial ground for victims of the plague. In 1371 the Charterhouse was built and a Carthusian monastery flourished on the site. Elizabeth 1 convened the Privy Council here in the days before her coronation in 1558, and James 1 followed her lead by staying at the Charterhouse prior to his coronation. In 1611 Thomas Sutton, a wealthy businessman, bought the Charterhouse and established the foundation that now bears his name providing a home for up to 80 Brothers: ‘either decrepit or old captaynes either at sea or at land, maimed or disabled soldiers, merchants fallen on hard times, those ruined by shipwreck of other calamity’ and for 40 poor scholars (which became Charterhouse School).

The story lives on. Large parts of the buildings were damaged in the Blitz of May 1941. Yet it was faithfully restored and is now home to over 40 Brothers.

Sharon Ament, Director of the Museum of London said:

“I am thrilled that the partnership between the museum and the Charterhouse is proving so successful and that the Revealing the Charterhouse project is now a reality. We will be working even more closely with this remarkable site that has played such a key role in London’s history to ensure that it becomes an irresistible destination for visitors when it opens its doors to the public in the autumn. We are particularly looking forward to supporting the Charterhouse in creating an inspiring learning programme for thousands of school pupils from London and beyond.”

The museum, cafe and Learning Centre will be accessed through Charterhouse Square, the site of a medieval plague pit. The square has been re-designed, inspired by its 18^th century layout, by Todd Longstaffe-Cowan (author of The London Square (Yale 2012) and Gardens Adviser to Historic Royal Palaces. The reconfigured Square will lead visitors to the new public entrance to the Charterhouse designed by Eric Parry Architects(EPA), who were responsible for the renewal of St Martin in the Fields and the Holburne Museum in Bath.   EPA are also designing the City’s newest skyscraper, 1 Undershaft.

Sir Michael Graydon, Chairman of the Charterhouse, said:

“I am very proud to be the Chairman of the Charterhouse at this important moment for the charity.  My fellow Governors and I are custodians of one of the nation’s longest standing and most noble charities and we look forward to opening our doors and revealing some of the remarkable history to visitors from all corners of our nation and from the world.”

Eric Parry, EPA said:

“The invaluable lesson of the Charterhouse is the continuity, relevance and adaptability of its architecture, in a city context that would be astoundingly incomprehensible to its founders.”

This is a project funded by the HERITAGE Lottery Fund and a range of other generous supporters including Helical Bar, Charles Hayward Foundation, The Wolfson Foundation, Christian Levett, The Schroder Foundation, The Lyon Family Trust and The City Bridge Trust amongst many others.

SUNDAY GIRL JODIE RETURNS TO DARLINGTON

Following her acclaimed performance in the Watermill Theatre production of Calamity Jane, Jodie Prenger is to step into Andrew Lloyd Webber and Don Black’s classic musical, Tell Me On A Sunday which will visit Darlington Civic Theatre in May.

Jodie Prenger shot to musical theatre fame after being crowned the winner of TV’s I’d Do Anything, winning the role of Nancy in Oliver! She went on to enjoy success in a long list of box office and critical hits, from comedy One Man, Two Guv’nors to the classic musical Calamity Jane last year.

Tell Me On A Sunday charts the romantic misadventures of a young English girl in New York in the heady days of the 1980’s. Brimming with optimism, she seeks success and love. But as she weaves her way through the maze of the city and her own anxieties, frustrations and heartaches she begins to wonder whether she’s been looking for love in all the wrong places. This iconic musical, with a wonderful original score, features the chart-topping Take That Look Off Your Face and title track Tell Me on A Sunday.

Originally conceived for television, Tell TMe On A Sunday has been performed by many legendary musical theatre stars including Marti Webb and Sarah Brightman. This new 2016 production directed by Paul Foster includes an intimate post-show chat with Jodie about life, love and playing the role of Emma.

Andrew Lloyd Webber’s numerous awards include 7 Tonys, 3 Grammys, 7 Oliviers, a Golden Globe, an Oscar, 2 Emmys and the Richard Rodgers Award for Excellence in Musical Theatre. Don Black is an Oscar winning lyricist (Born Free) and penned numerous James Bond theme tunes, and chart hits Michael Jackson’s Ben and Lulu’s To Sir With Love.

Tell Me On A Sunday is at Darlington Civic Theatre on Thursday 5 May, 2016. Tickets* are priced from £28

To book contact the Box Office on 01325 486 555 or visit www.darlingtoncivic.co.uk

*All ticket prices include a £1 restoration levy

AUTUMN-WINTER 2016 SEASON ANNOUNCED

 

OLIVIER AWARD WINNER MARK GATISS AND HUSBAND IAN HALLARD TO STAR TOGETHER IN

THE BOYS IN THE BAND

AFTER TRIUMPHS WITH DEAD SHEEP AND AN AUDIENCE WITH JIMMY SAVILE,

JONATHAN MAITLAND RETURNS TO PARK THEATRE

WITH DENY, DENY, DENY TACKLING DOPING IN SPORT

 

FIRST MAJOR REVIVAL OF JB PRISTLEY’S EARLY COMEDY THE ROUNDABOUT

 

ACADEMY AWARD NOMINEE AND GOLDEN GLOBE WINNER ANNE ARCHER

TO STAR IN THE LONDON PREMIERE OF THE TRIAL OF JANE FONDA

 

OLIVIER NOMINATED PLAYWRIGHT PETER QUILTER RETURNS TO PARK WITH THE WORLD PREMIERE OF SAVING JASON

 

Park Theatre Artistic Director Jez Bond today announces its new season of work, all in association with a host of exciting and diverse producers, including four world premieres, three UK premieres, two European premieres and a London premiere.

 

Bond says, “As well as welcoming back names who have proven hugely popular with our audiences, we are thrilled to announce brilliant new talent who will be making their Park Theatre debuts, including Mark Gatiss and Hollywood star Anne Archer. With a mixture of plays plus two musicals – a first for Park90 – I’m delighted to announce what I am sure will be a scintillating and varied programme. The first professional show I directed was a J B Priestley play and I consider him one of the master storytellers, so on a personal note, I’m absolutely thrilled we’re presenting his lost gem as part of our season!”

 

A new production of The Trial of Jane Fonda by Terry Jastrow, starring Academy Award nominee and Golden Globe winner, Anne Archer and directed by Joe Harmston, opens the season, marking the show’s London premiere inPARK200. The first major revival of beloved British playwright JB Priestley’s early comedy The Roundabout takes alook at an England in the 1930s, when it seemed, just possibly, as if the social order might be changing. Mark Gatiss, winner of the 2016 Olivier Award for Best Supporting Actor, and his husband Ian Hallard star together inThe Boys in the Band, an eagerly anticipated revival of Mart Crowley’s seminal piece, which premiered just months before the Stonewall riots, and became a cult film in 1970.  Following huge critical acclaim and controversy withDead Sheep and An Audience with Jimmy Saville, journalist and playwright Jonathan Maitland returns to Park Theatre with the world premiere of Deny, Deny Deny, which tackles the topical subject of doping in sport. The UK premiere of the New York hit show The Screwtape Letters – a stage adaptation of the C. S. Lewis classic novel – makes for a subversive and alternative Christmas show to round off the year.

 

The PARK90 season opens with the black comedy Some Girl(s), written by multi Tony Award nominee Neil LaBute, following the story of a man who visits his ex-girlfriends in his ‘little black book’ to try and ‘right’ his ‘wrongs’, and closes with the Tony Award winning physical comedy LUV by Murray Schisgal; both are directed by Gary Condesand produced by Buckland Theatre Company.

 

Following his Park200 debut in January with 4000 Days starring Alistair McGowan, Olivier Award nominated playwright Peter Quilter (End of The Rainbow and Glorious!) returns to Park Theatre with the world premiere ofSaving Jason, a comedy set in 90s suburbia. American writers Stephen Fife and Ralph Pezzullo will also present the world premiere of The American Wife, about a woman trying to clear her husband’s name when he’s accused of acts of terrorism.

 

For the first time, PARK90 will play home to two musicals: the European Premiere of acclaimed musical The Burnt Part Boys, with music by Chris Miller, and the world premiere of brand new British musical set in London, This Little Life of Mine written and directed by Michael Yale

Last year’s best book about British theatre, according to the judges of this year’s Theatre Book Prize, was a fascinating study based on the files from the Lord Chamberlain’s Office now held in the British Library.

At a gathering of people from theatre and the book world on April 22nd, held in the historic rooms of the Theatre Royal Drury Lane, distinguished actress Dame Siân Phillips presented the prize to Steve Nicholson for The Censorship of British Drama 1900-1968 (University of Exeter Press), a story conflict and connivance involving Royal officialdom, theatre managers and some of the key dramatists of the twentieth century. Critics have described it as “forensic and fascinating” and called Nicholson “a scholar who writes with lucidity, wit, humane intelligence and grace of mind. There is no jargon in his pages, but much glorious hilarity.”

In remarks by the judges leading up to the presentation Colin Chambers, called it “The final volume of a terrific and important series in which Nicholson delivers his original research into the practice of theatre with characteristic enthusiasm. His detailed account of how theatre and the society it reflects interact is seen through the prism of censorship.”

Author Nicholson, who is Professor in Twentieth Century and Contemporary Theatre at the University of Sheffield, wins after being short-listed for this prize in previous years.