Shakespeare returns… but not as you know him! Undead Bard at Theatre N16

Milk Bottle Productions presents:

UNDEAD BARD
October 2nd – October 13th 2016, Theatre N16


Dear the World,

Thank you so much for all the Deathday gifts, it’s been really lovely. Thank you so much for having me. Thank you. So much. Just one little thing. Could you let me die, please? It’s been four hundred years, could you just let me rest in piece?

Look, everyone’s sort of done the plays now, and they’re great and all, but it’s starting to get a bit tiresome. No one really, ever, needs another production of A Midsummer Night’s Dream. Ever. So, I’ve been speaking through my spirit guide/literary agent Robert Crighton, who’s going to present my problem on my behalf.

Just to be clear: Undead Bard is not, it really isn’t, another of my plays. It really isn’t. It’s about the problem you have with me. And it really is your problem. You need to stop using me to enable your culture.

It’s been a busy year for the Shakespeare buff, but if people listen to the message of this show, just think: you’ll never hear from me ever again. Won’t that be great!

Yours, The Undead Bard

Shakespeare is dead, but he just won’t stop talking.  His words are immortal, but they keep changing.  Award-winning writer and performer Robert Crighton explores the current boom in Shakespeare and how everything is now devoted to his holy name. Undead Bard is an unholy smorgasbord of play, comedy, and music, pulling apart Shakespeare, Bardolatry, and the modern world, for your pleasure.

“Crighton is a naturally gifted story teller, with presence, and a steeliness to his glare” (Londonist)

Undead Bard isn’t just what’s happening onstage – it is a series of works around the modern issues surrounding Shakespeare and his life.  As well as the live shows, there are online audio dramas in preparation – the first, Historic Crimes, is online now.

“All hopeful recipients of this man’s prodigious talent should form an orderly queue…” (East Anglian Daily Times)

Robert Crighton is a multi-award winning playwright and performer, specialising in stories and monologues.  A frequent flyer in the world of fringe theatre until about five years ago, Robert returns with his latest explorations of the world of Bardolatry. Robert graduated from Middlesex University in 2003 with a degree in Performing Arts: Drama which he occasionally uses to bolster his self-esteem.  On leaving he immediately set up a residency with his occasional theatre company Milk Bottle Productions in various studio spaces in Suffolk where, apart from touring work, he has been based ever since. He is the only entrant in the history of the Lost One-Act Festival to win three awards in successive years; his work is revived in random corners of the world.

The Giant’s Loo Roll rolls into the Arts Theatre this October

TaleGate Theatre Productions presents:

THE GIANT’S LOO ROLL
October 22nd – October 30th 2016, Arts Theatre


Edinburgh kids show hit The Giant’s Loo Roll transfers to London! This fabulously funny and brilliantly bouncy musical adaptation of Nicholas Allan’s much loved book will play lunchtimes at the Arts Theatre this October.

★★★★★ “a delightful musical theatre performance with an enchanting tale”  (Families Online)

‘Oh Fe Fi Fo And Fe Fi Fum! Now what shall I do to wipe my …..’

Look out for the biggest loo roll ever on stage in this GIANT of a children’s musical. The villagers living in the town below the Giant’s house had better watch out, that loo roll has gone bouncing down the hill and straight towards them! Luckily, the townsfolk find lots of uses for runaway loo paper – one sheet provides a huge canvas for an artist, a tailor uses another to fill her shop with paper pants and a school class makes a huge dart that can fly. But what about the Giant himself – doesn’t he need any loo paper? The townspeople have an answer for that, too!

‘Bumpety! Bumpety! Bumpety- Bump! A Giant’s toilet roll one day fell to the floor and flew away.’

★★★★ “fast moving (…) a guaranteed success with kids” (Behind the Arras)

Watch out for some frightened sheep, lots of excited children and a fantastic amount of toilet paper in this rip roaring new musical by TaleGate Theatre Productions – the team than brought you the festive musical Father Christmas Needs a Wee! which has seen success in a sell-out run at the Edinburgh Fringe Festival and a sell-out UK Tour. With The Giant’s Loo Roll, TaleGate have yet again hit the perfect combination of witty humour, fantastic music and the extra sparkle for which they have become known

★★★★ “an overwhelmingly upbeat production which cannot fail to raise a smile” (Broadway Baby)

New writing tells all-female underworld myth this October

Maud Dromgoole presents:

ACORN
October 4th – October 29th 2016, Courtyard Theatre

Maud Dromgoole’s Acorn radically reimagines two mythic women in a play that explores the power of stories, and how we come to write our own. Combining dark humour with lyricism, fury and wit, projection and an original score, Acorn is an all-female underworld myth for a modern age.

“I am not going to live happily ever after. That’s not my story.” Eurydice is getting married, and impatiently waiting for her life to begin. Persephone works hard and keeps the world at bay – it’s the way she knows how to survive. But death’s about to bring them together.

Using two ancient myths, Acorn analyses and evaluates the ever-changing role of women in the modern world, as well as challenging perceptions of medical care around the end of life – an especially timely subject in light of the continuing dismantling of the NHS.

How is myth preserved in modern culture? How does it still shape our lives? What power do these stories still have over our ideas of life, death, and what it means to be a woman? How can they be re-written?

Maud Dromgoole’s first play Blue Moon showed at the Courtyard Theatre in 2015. She has had several short plays performed, including Cake at the Cockpit Theatre and Tristan Bates Theatre, and Selkie at the Southwark Playhouse.

Director Tatty Hennessey trained at LAMDA, and has directed for Pint Sized, Theatre Renegade, Not Too Tame, The Reversed Shakespeare Company and the Miniaturists. She is an associate director with Merely Theatre, and has been an associate director at the Lyric Theatre, Park Theatre and Shakespeare’s Globe.

Acorn will be performed by Lucy Pickles and Deli Segal, who had a sell-out run of After Penelope, a new play about women in wartime, at The White Bear Theatre in London, which they co-wrote with their all-female theatre company, Spectra. The play went on to be performed at The Rome International Fringe Festival 2015 and then again at the RADA Festival in London. Spectra performed their second play, Harry’s Girls last summer; a modern re-telling of the story of the 6 wives of Henry VIII at the RADA Studios and Upstairs at the Gatehouse.

“Maud Dromgoole’s script is witty and dark with plenty of depth” (Female Arts on Blue Moon)

Theatres Trust releases 10th annual Theatre Buildings at Risk Register

401c5b6a-5abe-4b75-92e5-ff52df059b06Today, Monday 12 September 2016, Theatres Trust reveals the 36 theatres at most risk across the UK, and Trustee Dara Ó Briain calls on everyone who cares about theatre to join the campaign to protect them.

Of the 36 theatres on the 2016 Register there are 6 new theatres: 3 in England, and 3 in Scotland – these include 3 theatres which have, sadly, returned to the Register.

There has been some fantastic progress for theatres still on the Register, and in this, our 40th year, we’re celebrating those campaign groups who fight so hard to demonstrate their potential viability, and the role that those theatres can play in their communities.

Theatres Trust Trustee, Dara Ó Briain, has lent his support to raise awareness of our campaign by fronting a video introducing some of the excellent work done by community groups around the country, many of whom have submitted video reports highlighting their work protecting the theatres they love.

Dara Ó Briain, said: “As a touring standup comedian I have travelled up and down this country and worked in many of the theatres here and you have a unique and rich heritage of theatres that were built in the last 200 years. But we can’t take that for granted. Local community support is vital in breathing new life into theatres. If a theatre in your community was in danger of being lost forever would you help fight for it?  There are 36 theatres all over the country on our Register at the moment. Please join the campaign to save them or make a donation.”

Rebecca Morland, Interim Director of Theatres Trust, said: “Each theatre on the Register has an important place in its community. Our experience shows us that where    campaign groups are in place, they can make a real difference to the future of these theatres.  The progress that has been made with theatres in Brighton, Burnley and Kirkcaldy – to name but three – is a real testament to this.”

The Trust’s At Risk Register launch is generously supported by theatre insurance brokers Integro. Andy Rudge, Head of Theatre, said: “We have been a long standing supporter of the valuable work Theatres Trust undertake within the theatre industry – the Theatre Buildings at Risk Register is integral to their activities – identifying and providing much needed support to organisations when the sustainability and viability of their venue is threatened. It’s vital this work continues to help maintain the cultural landscape of the UK.”

New on the Register
New to the Register in 2016 is the Broadway Theatre, Peterborough, currently under threat from redevelopment for residential use. It has one of the finest remaining interiors from the Odeon chain, having been converted to theatre use in 2001. In Scotland two Category B-listed theatres also feature. The King’s Theatre in Dundee, the only surviving large touring theatre in the Dundee area, is increasingly deteriorating due to lack of maintenance. Whilst the King’s Kirkcaldy has been dark for 11 years, with various unfulfilled proposals for redevelopment. Both now have campaign groups who see the buildings’ potential and are working to secure their long term sustainable future.

Re-entries
Leith Theatre in Scotland has been placed back on the Register, despite tremendous work by the community group in securing a lease on the premises, due to the amounts of funding still required to secure its future. The Secombeand the Charles Cryer in Sutton were removed from the Register only last year after reopening, but now make a re-entry as the operator has gone into administration, leaving the future of these theatres in doubt.

Future secured
One theatre whose future has been secured however is the Muni Arts Centre in Pontypridd, a Grade II listed former Wesleyan Chapel. Thanks to a local consortium of private, public and charitable organisations, the New Muni is open with volunteer advisory panels informing its future artistic and cultural programming.

Ensuring theatres’ viability
Whilst we passionately believe in protecting theatre buildings for live performance use, their regeneration and future survival hinges on their viability. This year many groups have undertaken studies to show the value that their reopened theatre could bring to their local community.

The number one theatre on the At Risk Register for the last 4 years has beenBrighton Hippodrome. In 2015, Theatres Trust paved the way for a viability study and the local community group have built on that to secure more funding and do more work, with the overall aim of returning this gloriously unique Grade II* listed circus theatre to live performance use.

Another great example is Burnley Empire. Languishing without use for many years, its appearance on the 2015 Theatres at Risk Register led to the formation of an active community group. Their fundraising, together with support from the local Council and Theatres Trust, has led to a viability study which is currently underway, exploring potential uses for the theatre.

Other theatres on the Register actively considering their viability, working hard on business plans, or undertaking options appraisals, include the King’s Theatre, Dundee who are currently fundraising for their viability study,Mechanics Institute in Swindon, a former social community and staff centre for the Great Western railway, Doncaster Grand, an ornate Grade II listed Victorian theatre, and Dudley Hippodrome, whose campaign group recently secured a 5-year lease for the venue.

Videos
We asked the At Risk theatres campaign groups to provide us with videos highlighting their work in campaigning for the theatres they are passionate about. Included in these reports are: Bradford Odeon, the Mechanics Institute in Swindon, the Theatre Royal in Hyde, Spilsby Theatre in Lincolnshire, Doncaster Grand, Tameside Hippodrome, the King’s Theatre in Kirkcaldy, Burnley Empire, Brighton Hippodrome, the Futurist in Scarborough, Alexandra Palace in London, Plymouth Palace, Colwyn Bay Pier Pavilion, and Leith Theatre.

Support the campaign to protect theatres at risk
www.theatrestrust.org.uk/theatre-buildings-at-risk/tbar-2016

Volunteers required for costume making

Civic-Theatre-Hi-Res-Logo-1-117x300Darlington Civic Theatre is looking for volunteers to assist with the creation of costumes for the forthcoming community production of A Tale of Two Cities, which will be performed in the Dolphin Centre’s Central Hall in November.

The theatre is looking for volunteers with sewing skills of all levels and or knitting skills. The work will involve making period garments and altering contemporary clothes. Making will include full length skirts, bustles, waistcoats, cockades, dirtying down costumes and alterations of garments to fit our cast. All volunteers will work alongside an experienced wardrobe supervisor during the sessions.

Anyone interested should email [email protected] or call her on 01325 405510.

A Tale of Two Cities is at Central Hall, Dolphin Centre, Saturday 19 and Sunday 20 November. Charles Dickens considered his novel A Tale Of Two Cities to be the best story he had ever written.

Interweaving one family’s intensely personal drama with the terror and chaos of the French Revolution, it is an epic story of love, sacrifice and redemption amidst horrific violence and world changing events. This will be a promenade performance.

The Touring Consortium Theatre Company, who most recently brought Of Mice And Men, A View From The Bridge and Brave New World to Darlington Civic Theatre are now working in partnership with the theatre to present A Tale Of Two Cities using a cast of community actors.

This new adaptation by Mike Poulton (Fortune’s Fool, Old Vic; Wolf Hall, RSC) will feature a cast of approximately 30 local actors alongside a professional production team led by director Eduard Lewis. The production will be staged in the atmospheric setting of Darlington’s Central Hall, where Dickens himself read on 21 September 1858.

Tickets* are priced £18 for adults, under 16s £10

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

*Includes £1 restoration levy

THE PURR-FECT FAMILY TREAT COMES TO THE LYCEUM THIS OCTOBER

image001 (18)THE PURR-FECT FAMILY TREAT COMES TO THE LYCEUM THIS OCTOBER

Andrew Lloyd Webber’s record-breaking Oliver award-nominated musical Cats comes to the Lyceum Theatre in Sheffield from Monday 3 – Saturday 15 October, direct from its sell-out seasons at the London Palladium.

On just one special night of the year, all Jellicle cats meet at the Jellicle Ball where Old Deuteronomy, makes the Jellicle choice and announces which of them will go up to The Heaviside Layer and be reborn into a whole new Jellicle life.

Based on T.S. Eliot’s Old Possum’s Book of Practical Cats, the world famous musical is a sparkling fusion of music, dance and verse, and has now taken on a new life for a new generation.

With an outstandingly talented cast, magnificent sets, breathtaking choreography and a stunning score, including the unforgettable Memory, Cats is a magical musical that will thrill the whole family this autumn.

 

Cats comes to the Lyceum Theatre from Monday 3 – Saturday 15 October.  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 £23.50 (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.

JESS IS FLYING HIGH

Civic-Theatre-Hi-Res-Logo-1-117x300Darlington Civic Theatre’s ArtsSpark member Jess Hull accepted into the Phoenix Academy North East.

Darlington Civic Theatre is proud to announce that one of their ArtsSpark members has recently been accepted into the Phoenix Academy North East based in the Trinity Centre, Gateshead.

Seventeen year old Jess Hull has been dancing with ArtsSpark since she was eleven and attended an audition to gain entry into the Academy in June.

Photo's by Scott Akoz PhotographyPhoenix Academy North East is based on the hugely successful Phoenix Youth Dance Academy based in Leeds. The Academy offers a high-quality training programme for talented young dancers aged 14-18 years interested in pursuing dance as a career. Students meet twice a week, developing their contemporary dance technique through working with recognised choreographers and Phoenix Dance Theatre’s company dancers. Academy members also participate in intensive courses during the school holidays, with regular performance opportunities at platforms across the UK.

Youth Academy graduates have gone on to successfully audition for numerous conservatoires, including: London Contemporary Dance School, Rambert School of Ballet and Contemporary Dance, Northern School of Contemporary Dance and Trinity Laban Conservatoire of Music and Dance.

Darlington Civic Theatre’s ArtsSpark youth dance and theatre sessions provide a safe, welcoming environment for young people to create, explore and participate in quality theatre activities leading to regular performance opportunities. For full details visit www.darlingtoncivic.co.uk

RENT Tour Dates Added, Rehearsals Begin Today

rent-poster-low-resNEW 20TH ANNIVERSARY PRODUCTION OF JONATHAN LARSON’S

PULITZER PRIZE- & TONY AWARD-WINNING MUSICAL

RENT

FURTHER 2017 DATES & FULL CAST ANNOUNCED

AS REHEARSALS START TODAY

Robert Mackintosh and Idili Theatricals Limited, in association with Theatr Clwyd, are delighted to announce the addition of further dates to the tour schedule for the new 20th Anniversary production of Jonathan Larson’s ground-breaking Pulitzer Prize- and Tony Award-winning musical RENT. Rehearsals start today, Monday 12 September, under the direction of Bruce Guthrie.

The tour opens at Theatr Clwyd for a limited season from 21 October 2016, followed by a three-week tour, prior to a Christmas Season at St. James Theatre, London from 8 December 2016 to 28 January 2017. The tour will then continue after London, from 31 January to 27 May 2017.

Completing the cast are Javar La’trial Parker (Showboat at the New London Theatre) as Benjamin Coffin III and Joshua Dever, who will be joining the previously announced Ross Hunter as Roger Davis, Billy Cullum as Mark Cohen, Ryan O’Gorman as Tom Collins, Shanay Holmes as Joanne Jefferson, Layton Williams as Angel Schunard, Philippa Stefani as Mimi Marquez and Lucie Jones as Maureen Johnson, with Kevin Yates, Jordan Laviniere, Christina Modestou, Bobbie Little, Jenny O’Leary and Katie Bradley.

Jonathan Larson’s musical, inspired by Puccini’s opera La Bohème, won four Tony Awards, six Drama Desk Awards and the Pulitzer Prize for Drama in 1996. Ben Brantley’s New York Times review was a love letter to the show, calling RENT an “exhilarating, landmark rock opera”. RENT ran on Broadway for 12 years, from 1996 to 2008. The show premiered in London’s West End in 1998 at the Shaftesbury Theatre, where it ran for 18 months. It was adapted into a film in 2005.

Larson’s world is inhabited by a group of bohemian artists who struggle to maintain their friendships and their non-conformist ideals in New York’s East Village. Facing their problems head on, they make personal self-discoveries and find what really matters most in life. The poignancy of the story was heightened when Jonathan Larson died of an aortic dissection on 25 January 1996, the night before the show’s first off-Broadway performance at New York Theatre Workshop.

The much-loved score features songs such as Seasons of Love, Take Me or Leave Me, What You Own, One Song Glory, La Vie Bohème, Without You, I’ll Cover You, Out Tonight and I Should Tell You.

The new production of RENT will have Choreography by Lee Proud, Musical Direction by Phil Cornwell, Set Design by Olivier Award-winner Anna Fleischle, Costume Design by Loren Elstein, Lighting Design by Olivier and Tony Award-winner Rick Fisher, Sound Design by Olivier Award-winner Mike Walker, Video Design by Andrzej Goulding and Casting by Will Burton Casting.

RENT has Book, Music and Lyrics by Jonathan Larson, Musical Arrangements by Steve Skinner, Original Concept and Additional Lyrics by Billy Aronson, Music Supervision and Additional Arrangements by Tim Weil, and Dramaturg is Lynn Thomson. RENT was originally produced in New York by New York Theatre Workshop and on Broadway by Jeffrey Seller, Kevin McCollum, Alan S. Gordon and New York Theatre Workshop. 

RENT is presented by arrangement with Music Theatre International (Europe) Ltd.

For more information, visit www.RENTonstage.co.uk

Twitter:  @RENTonstage

Instagram:  Instagram.com/RENTonstage

Facebook:  facebook.com/RENTonstage              

                                                                               

LISTINGS INFORMATION

On sale unless otherwise stated.

 

21 October to 12 November 2016

Theatr Clwyd

Mold

Flintshire

CH7 1YA

Box Office:  01352 701521

Website:  www.theatrclwyd.com

 

15-19 November 2016

His Majesty’s Theatre

Rosemount Viaduct

Aberdeen AB25 1GL

Box Office:  01224 641122

Website:  www.aberdeenperformingarts.com/venues/his-majestys-theatre

 

22-26 November 2016

Malvern Festival Theatre

Grange Road

Malvern WR14 3HB

Box Office:   01684 892277

Website:  www.malvern-theatres.co.uk

 

29 November to 3 December 2016

Wycombe Swan

St. Mary Street

High Wycombe HP11 2XE

Box Office:  01494 512 000

Website:  www.wycombeswan.co.uk

 

8 December 2016 to 28 January 2017

St. James Theatre

12 Palace Street

London SW1E 5JA

Box Office:  0844 264 2140

Website:  www.stjamestheatre.co.uk

31 January to 4 February 2017

Devonshire Park Theatre
Compton St
Eastbourne BN21 4BW
6-11 February 2017
Churchill Theatre
High Street
Bromley
Kent BR1 1HA
Box Office: 020 3285 6000
14-18 February 2017
Festival Theatre
13 / 29 Nicolson Street
Edinburgh, EH8 9FT
Box Office: 0131 529 6000
Website: www.edtheatres.com
28 March to 1 April 2017
Curve
Rutland Street
Leicester LE1 1SB
Box Office: 0116 242 3595
On sale 7 November
3-8 April 2017
 
Wales Millennium Centre
Bute Pl
Cardiff Bay
Cardiff CF10 5AL
Box Office: 029 2063 6464
11-15 April 2017
Cheltenham Everyman Theatre
Regent Street
Cheltenham GL50 1HQ
Box Office: 01242 572573
Website: www.everymantheatre.org.uk
On sale in November18-22 April 2017

York Theatre Royal
St. Leonard’s Place
York YO1 7HD

Box Office: 01483 440000
Website: www.yorktheatreroyal.co.uk
On sale soon1-6 May 2017

Lighthouse
Poole’s Centre For The Arts
21 Kingland Road
Poole
Dorset BH15 1UG

Box Office: 01202 280000
Website: www.lighthousepoole.co.uk
On sale soon
9-13 May 2017
Belgrade Theatre
Belgrade Square,
Coventry CV1 1GS
Box Office: 024 7655 3055
Website: www.belgrade.co.uk
On sale soon
16-20 May 2017
Nottingham Playhouse
Wellington Circus
Nottingham, NG1 5AF

Box Office: 0115 941 9419
Website: www.nottinghamplayhouse.co.uk
On sale 14 October

 
23-27 May 2017
Assembly Hall Theatre
Crescent Road
Tunbridge Wells
Kent TN1 2LU
Box Office: 01892 530613

9 to 5 The Musical Review

Grand Opera House York.  Reviewed by Michelle Richardson

York Stage Musicals present 9 to 5 The Musical at the Grand Opera House, York, running until 17th September.

Based on the 1980 film, this musical comedy, with the music and lyrics written by Dolly Parton, is set in the late1970s and revolves around three office workers, Violet (Julie Anne Smith), Doralee (Alicia Roberts) and Judy (Jo Theaker) exacting revenge on their sexist boss, Hart (Darren Roberts).

The show opens with the iconic 9 to 5 with Dolly Parton streamed live from Dollywood”. The scene is set, a busy secretarial pool with Violet being passed over for promotion by a younger far less experienced man, Doralee, the busty beauty and Judy the ditched, for a younger model, housewife. Hart, the company’s boss is introduced with Here For You, brilliantly performed by Darren Roberts with all its crudeness and and sexist attitudes towards women.

The women form an uneasy alliance, dreaming about killing Hart and accidently appearing to live out their fantasies. Covering up and coping with their mistakes they manage to transform the company into thoroughly modern and forward thinking company.

The 4 leads throw themselves into their roles and are hard to fault, well supported by the ensemble cast. Both Alicia Roberts and Jo Theaker give outstanding vocal performances with Backwoods Barbie and Get Out and Stay Out. I must also mention Maya Tether who gave a terrific performance of Roz, the office busybody who is in love with the boss.

York Stage Musicals, under the direction of Nik Briggs, have put on a great show, it’s a good night of humorous entertainment, going out on a high with the final rendition of 9 to 5. I encourage all to go and see it whilst you can.

Much Ado About Nothing Review

The ReFashioned Theatre, Selfridges 23 August – 24 September.  Reviewed by Claire Roderick

Commissioned by Selfridges to celebrate Shakespeare400, The Faction’s production of Much Ado About Nothing is as slick and stylish as its surroundings. The ReFashioned Theatre, with its traverse stage, mirrors and lighting, has the feel of a fashion show, and the modern costumes fit right in. The simple military uniforms are a particular triumph.

Much Ado About Nothing does what it says on the tin – Claudio falls in love with Hero, he is tricked into believing her unfaithful, seeks revenge, is tricked again into thinking her dead, but everything ends happily once he realises his mistake. Meanwhile, everyone is plotting to unite Beatrice and Benedick, who love to hate each other.

Streamlining the play to 90 minutes without interval, director Mark Leipacher has cut extraneous characters and scenes, creating a production that is full of energy and impetus.

Hero’s father, Leonato, becomes her mother, Leonata, played imperiously by Caroline Langrishe, giving an intriguingly different feel to Leonata’s reactions on hearing the accusations against Hero. Shakespeare’s best written couple, Benedick and Beatrice, are portrayed with great charm by Daniel Boyd and Alison O’Donnell. Boyd is reminiscent of Lord Percy in Blackadder in his comedy style (but that isn’t a criticism): his sweetly snarky awkwardness works wonderfully here as O’Donnell’s Beatrice is full of fire and definitely wears the trousers in this relationship, and the chemistry and timing between the pair is exquisite. O’Donnell’s Scottish accent seems a little out of place at first, but insults and sarcasm always sound funnier and sharper in Celtic tones.

The scene where Benedick “overhears” that Beatrice loves him is hilarious, with Langrishe showing her playful side, and Boyd displaying masterful physical comedy skills. The corresponding scene, when O’Donnell’s Beatrice hears of Benedick’s feelings, takes the physical comedy even further, and O’Donnell is hysterical.

Harry Lister Smith and Lowri Izzard make a sweet Claudio and Hero, Jude Owusu is a strong but funny Don Pedro, Tala Gouveia is a very millennial Margaret, Jamie Maclachlan is a slimy Borachio and a serene Friar (although he does seem to be officiating the marriage in his dressing gown) and Christopher Hughes is full of malice as Don John, and brilliantly gaping-mouthed stupid as the watchman. Meera Syal appears onscreen as a News reporter, delivering important messages, while Simon Callow and Rufus Hound Are Dogberry and Verges, overseeing the watch on CCTV. This may seem like a gimmick to get big names into the show, but it actually matches the style of the production and slots into the play seamlessly. And let’s face it, any chance to watch Callow, even in this tiny part, is a bonus.

Lighting director Chris Withers’ design is bold, stark and in your face, with the sides of the stage and pillars in green, blue, red or yellow depending on the setting. One fantastic moment involved Don John bemoaning his being “enfranchised with a clog” – here an ankle tag – and sticking his leg over the edge of the stage, triggering alarms and red flashing lights.

The Faction’s production is fast paced and funny, with a fantastic cast. This intelligent and exciting adaptation of Much Ado About Nothing is well worth seeing.