Festival Theatre, Malvern – until 18th May 2024

Reviewed by Courie Amado Juneau

5*****

Everyone knows The 39 Steps, the Hitchcock classic from 1935, right? This is a stage adaptation of that – well, nearly: it’s a comedic take on the original that pays homage to it whilst feeling remarkably modern.

The opening scene introduces Richard Hannay (Tom Byrne) wallowing in his terminal boredom until the notion of a trip to the theatre hits him. A decision that unleashes epic repercussions. Mr Byrne has just the one role but it’s a corker! He portrays the dashing, (at first) reluctant hero with a zest that’s truly infectious – giving us just the right combination of exasperation, romance, fear, grit and determination that the character demands. His timing was exemplary with a marvellously deft slapstick touch; especially his athleticism extricating himself from under corpses and quick window escapes.

Safeena Ladha gave us three beautifully fleshed out characters – from the wonderfully exotic Annabella with her hilariously impenetrable German accent and flamboyant death scene, Margaret’s naive dreamy romantic and Pamela, who Hannay understandably falls in love with. Ms Ladha showed a depth and range that was commendable. A talented actress providing the dramatic (i.e. straight) gravitas the play needed alongside her fair share of the comedy.

What to say about Eugene McCoy and Maddie Rice (billed as Clown 1 and 2 respectively)? They had so much to do, in so many different areas, that the mind boggled. Basically, they played every other role. Accents you could use to grate cheese, quick fire costume changes (especially hats) and tearing around the stage like a young Mick Jagger all left one reeling in giddy delight. The term “small but perfectly formed” has never been more true than of this sensational cast.

The stage scenery was a masterclass in creating a whole world with very little whilst utilising the actors physicality. Conjuring a train with a few boxes and some lighting was a good example of this! There’s a hilarious chase across the train roof which I particularly enjoyed. Evoking the moors was another highlight – especially being caught on the gorse bush. I won’t spoil the surprise with what happens (because it’s superb) but the chase involving planes and an extra special local celebrity guest appearance was hilarity personified.

With all this tomfoolery going on it was remarkable that our two “leads” managed to create a genuinely believable couple and their burgeoning romance was perfectly pitched and stylishly unfurled. Kudos to them and director Maria Aitken. The radio announcer (acting very much as narrator) was another highlight – especially his running commentary on Hannay’s moustache.

Some lovely in jokes with and name-dropping of many Hitchcock works will keep all fans of the Master of Suspense chuckling and nodding knowingly. My favourite was the Psycho music which is always a pleasure to hear.

This is a joyous romp through this classic that is guaranteed to tickle the most jaded tastebuds and is just the ticket to bring some much needed sunshine into a year sadly lacking thus far in that area. Worth watching just for the Mr Crocodile scene alone. Lovers of suspense, comedy and, well, love will love this production. Catch this show while you can, you won’t regret it. Essential viewing.

Windsor Theatre Royal – until 18th May 2024

Reviewed by Liberty Noke

2**

Party Games! Is a new political comedy written by Michael McManus who has previously worked alongside politicians Edward Heath and Margaret Thatcher so he is well placed to write about politics. The play is set in the year 2026 and opens with the newly formed “One Nation” party winning the election although they are 6 seats short of a majority. We see characters John (Matthew Cottle), Luke (Jason Callender) and Anne (Debra Stephenson) receive the news before being rushed into 10 Downing Street.

The staging is simple with the Prime minister’s desk stage right and a big front door to number 10 at the back. There are also doors to either side of the stage. The background of the stage is simple grey wallpaper which is made to reassemble the union flag.

In number 10 we meet deputy prime minister Lisa (Erica Tavares-Koussi), Candice (Krissi Bohn) and the prime ministers advisor Seth (Ryan Earley). Early plays the role in quite an over the top manner he has a lot more energy and is dressed more casually than the other character which really makes him stand out. He is overly enthusiastic always bouncing about the stage. He is obviously trying to influence the prime ministers decisions. Cottle plays John the prime minister who appears to be completely unqualified for the job- an obvious caricature of recent prime ministers and he does have a lot of funny one-liners which did make the audience chuckle. However in a political comedy such as this it would have been nice to have some cleverer more complex humour. There are other obvious references to recent politics for example Liz Truss and the Lettuce so the writing does play to people’s knowledge of recent events and the audience did find this funny.

There was an instance where Candice (Krissi Bohn) corrects the pronunciation of her name as she is of Caribbean decent so uses that pronunciation and another moment where a protester is mentioned and their pronouns are they/them. Both of these are very relevant at the moment and could have been bigger moments in the play.

There is an Alexa style technology introduced called Medianne voiced by Debra Stephenson and this does add humour to the piece as we can all relate to being frustrated by technology but again a lot of it’s jokes where obvious and child-like.

While I did enjoy this play and commend the performance especially that of Erica Tavares-Koussi who understudies the role of Lisa and was announced at the last minute, I feel like there was a missed opportunity here to make a larger political statement or at least write some more complex jokes. A lot of the jokes were simple and while the audience did laugh, not all of the jokes landed as I imagine they were intended. I also found the plot to be lacking substance. Overall an enjoyable play with some funny moments.

Nottingham Theatre Royal – until Saturday 18 May 2024

Reviewed by Amy V Gathercole

4****

“If you’re seeking a departure from jukebox musicals, enjoy drama, and crave a different type of show, Bonnie and Clyde is for you”.

Bonnie Parker (played by Katie Tonkinson) and Clyde Barrow (portrayed by Alex James-Hatton) are the infamous and reckless couple who raised hell across America in the 1930s.

Their electrifying chemistry is evident from the outset, a vital element in a fast-paced and racy story like theirs. Intimate scenes require the audience to believe in their desperation and desires and both actors convincingly deliver throughout the drama.

The narrative takes its time to establish characters and circumstances, but once it steps on the gas, it hurtles forward at breakneck speed. The love story between Bonnie and Clyde unfolds against the backdrop of crime and violence, yet remains tender and captivating.

Bonnie dreams of fame, fortune, and becoming a Hollywood actress. When these two dreamers meet, attraction and curiosity ignite between them. Clyde, a young man down on his luck, idolises outlaws like Billy the Kid and Jesse James. His love and skill lie in ‘driving like the devil’ and he has no intention of leading a mundane life, regardless of the consequences or casualties.

The show delves into family relationships and the struggles of Depression-era USA. We meet both sets of parents, who simply want their children to be safe and return home. However, Bonnie and Clyde rebel against their parents’ small-town lives, choosing a path of danger and excitement.

The decision to reveal the end of the play at the start of the performance can often be considered controversial, but it works well here. The immediate urgency grips the audience even before they meet the key characters. While their eventual fate looms, the fun lies in discovering how they got there.

After a psychological and physically damaging stint in jail, Clyde rapidly progresses from hold-ups at local stores to robbing banks nationwide. Bonnie’s unwavering love for him leads her to follow wherever he goes, especially when her name starts appearing in the papers—her dream of stardom finally within reach.

Clyde’s brother Buck (Sam Ferriday) and his religious wife, Blanche (Daisy Wood Davis, my favourite performance in the whole show), remain a constant presence in the background. Blanche promotes godly family life, while Buck struggles to leave Clyde’s fast-paced world and be the man she needs him to be. Davis’s rendition of “You Love Who You Love” and the reprise with Tonkinson evokes shivers.

In the current world of cost-conscious theatre and touring, Bonnie and Clyde features outstanding video projections by Nina Dunn. Her work vividly captures the drama and details of Depression-era America, enhancing the storytelling in a unique and impressive way.

The show combines toe-tapping numbers with beautiful, heart-wrenching songs and duets. Its popularity is evident as it continues touring the UK until October 2024, having left the West End to huge applause.

If you’re seeking a departure from jukebox musicals, enjoy drama, and crave a different type of show, Bonnie and Clyde is for you.

ARTIST DEVELOPMENT PROGRAMME

Invitation issued to Deaf, disabled and neurodivergent artists across the country. 

Hull Truck Theatre have once again joined other theatres in signing up to the Graeae’s BEYOND programme as the initiative enters its fourth year. Beyond has supported 60 Deaf, disabled and neurodivergent artists in developing their careers, taking on new challenges & building successful connections.

Beyond is back this year helping to develop greater access to regional opportunities across England ensuring Deaf, disabled and neurodivergent artists are at the forefront of new and emerging work. Hull Truck Theatre recognise the immense value of their intersectionality across their communities, which includes Black, Asian, Global Majority, migrant, and LGBTQIA+ artists, which is why the approach is to be as bespoke as possible for each individual artist on the programme.

A Beyond participant said:

“The industry is saturated with full-on training opportunities, and I find that quite exhausting. What sets Beyond apart, and what makes a difference is it is bespoke… designed for you.”

Graeae have teamed up with Hull Truck Theatre as well as seven other leading venues across England; Octagon Theatre in Bolton, Nottingham Playhouse, Cast in Doncaster, Shakespeare North Playhouse in Prescot, Everyman in Liverpool, Derby Theatre and Mercury Theatre in Colchester. Together they are creating a national network of artistic support and development for Deaf, disabled and neurodivergent artists.

As part of the scheme, Hull Truck Theatre will offer 18 months of bespoke support including: mentoring, practical resources such as industry specific workshops, creative spaces, micro-bursaries, network opportunities and support with funding applications. 

BEYOND acts as a bridge for artists to reach organisational leaders and national venues, to enable them to realise their creative potential and have their voices heard. The aim this year is to develop greater access to regional opportunities across England, designed to support artists who could most benefit from alliances with regional theatres in the North, North East, North West, East Midlands, and Essex. This could also include artists who might live, work or have a deep connection with any of the areas where partnering theatres are based: Bolton, Prescott, Nottingham, Derby, Hull, Liverpool, Doncaster or Colchester.

A Beyond participant said:

“The support [from venues] has been immense. Knowing that there is an interest in disability art in the mainstream and that there are theatres who want to make contact is incredibly powerful.”

Graeae has a designated Access Manager who will oversee the provision of access for all the participating artists both in the application process and once artists are on the programme itself. 

The scheme is open to applicants over 18 years of age. All that is needed is a commitment to creating a live performance (online or in person) as a performer, writer, director, producer, designer, or technician. You must be based in England and live, work or have a deep connection with any of the areas where our partner theatres are based. There are 20 places available to Deaf, disabled or neurodivergent artists who want to create live performance, develop an idea, find new collaborations, be seen and heard, but cannot get beyond barriers to developing or continuing their practice.

Graeae appreciate that as disabled artists, there may have been different paths taken within a career, the terms new, emerging, mid and established are not always easy to define, therefore it is encouraged that artists at all stages to apply. However, applications from full time students (or part time postgraduate students) are unable to be accepted.

For more information and to apply please visit: https://bit.ly/4bGKlxZ

Final date for submitting Expression of Interest form is midnight on Thursday 27 June 2024.

Leeds Grand Theatre – until Saturday 25th May 2024

Reviewed by Lauren Fordham

5****

Pretty Woman: The Musical is based on the much-loved 1990 film of the same name about a businessman, Edward Lewis (played by Oliver Savile in the musical) who meets and falls in love with a prostitute he hires, Vivian Ward (played by Amber Davies.)

The show preserves all the well-known lines from the show and Davies delivers them with a knowing humour, the ‘I have a runner in my pantyhose/I’m not wearing any pantyhose’ scene being particularly funny coming from the 2017 Love Island winner, who like Vivian has proven her talents since. But unlike film, the strength of a musical lies in its songs and its singers, and it has some stupendous singers.

That Davies is one is evident from her first number, ‘Anywhere But Here’, although in my opinion she doesn’t get to give full rein to her voice until the belting, ‘I Can’t Go Back,’ in the second half, but the power she unleashes is breathtaking.

Natalie Paris is both no-nonsense and nurturing as Vivian’s friend and fellow prostitute Kit De Luca, in turns exhorting her to take advantage of Edward’s wealth ‘there ain’t no limit on a platinum card/he can afford it, let’s hit him hard’ but also encouraging her to dream and value herself: ‘you don’t belong on the Boulevard, you’re so much more than you think you are.’ In her maternal delivery of these lines I see echoes of Paris’ previous role of Jane Seymour in Six and she proves that Kit De Luca, while streetwise, definitely does not have a heart of stone. Rodeo Drive reveals Paris’ flair for rock, and my only complaint is that, like Six, it is over too soon.

Lila Falce-Bass makes a dazzling debut as opera singer Violetta, blowing me away with her powerful, assured vocal that belies her hitherto lack of professional experience. I’m sure she will have casting directors calling after this performance

Oliver Savile makes Edward Lewis the supportive sugar daddy anyone would love, particularly as he encourages Vivian to have confidence in herself in ‘You’re Beautiful’, an anthem I will definitely be adding to my mental health playlist.

David Rockwell’s scenic design and Kenneth Posner and Philip S Rosenberg’s lighting design skills work well together to evoke both the seedy dim lights of Hollywood and the opulence and oceanic view of Edward’s Beverly Wilshire penthouse.

Though the film made stars of its leads, Richard Gere and Julia Roberts, for me the musical’s stars are subsidiary characters Guilio the bellboy, played by Noah Harrison, and Happy Man/hotel manager Mr Thompson, both played by the vibrant and versatile Ore Oduba.

Compared with Oduba’s clear campness, Harrison’s humour is somewhat hidden under a bushel but hilarious when he catches Vivian’s wig in her hotel room, hides it and then proceeds to dance with it, and that’s only one of many scenes I don’t have the word count to feature. They mesmerise the audience with their movement, the standard of which transcends even Oduba’s Strictly background.

The work of cast and crew combines to give a truly romantic, ravishing production. Buy your tickets now, or you’ll be making a Big. Huge. Mistake

PLAYHOUSE THEATRE, LIVERPOOL – UNTIL SATURDAY 18TH MAY 2024

REVIEWED BY MIA BOWEN

4****

The award-winning satirical comedy ‘Drop the Dead Donkey‘ that ran over 6 series from 1990 – 1998 has been reimagined for a 2024 audience in the stage play ‘Drop the Dead Donkey: The Reawakening!‘ Being old enough to remember the original show, I attended with my fellow Gen X friend who was eagerly anticipating the play for a dose of nostalgia. It certainly lived up to our expectations.

The stage production in 2024 brings back some familiar faces from the iconic TV show. The cast includes Stephen Tompkinson as Damien, Neil Pearson as Dave, Susannah Doyle as Joy, Robert Duncan as Gus, Ingrid Lacey as Helen, Jeff Rawle as George, and Victoria Wicks as Sally. Joining them are two new characters, Julia Hills as Mairead and Riya Rajeev as Rita, who both adeptly take on the challenge of joining this established group of characters. Sadly, two former cast members, David Swift who played Henry and Haydn Gwynne who portrayed Alex, have passed away and were respectfully remembered during the show. The production is directed by Derek Bond and written by Andy Hamilton and Guy Jenkin, the creators of the original hit Channel 4 comedy series that won BAFTA and EMMY awards.

Without revealing too many details of the plot, the new adaptation takes us back to the characters thirty years later. They are now starting a new 24-hour television news channel called Truth News in the ever-evolving world of modern broadcasting. The play begins in a high-tech, twenty first century news studio, brilliantly designed by Peter McKintosh, with nostalgic clips from the original TV series shown on a screen above the stage. The screen is cleverly used to showcase the public’s social media reactions to the failed launch of the news channel. This launch results in a national treasure’s reputation being damaged and a beloved newsreader being injured live on air.

Without a doubt, the show’s most humorous moments stem from sharp, contemporary satire expertly executed by its talented cast. The witty observations about life, eccentric characters, and astute political commentary provide an abundance of belly laughs and current affairs humour.

 Edinburgh Festival Theatre – until 18^th May 2024

 Reviewed by Rachel Farrier

4****

Matthew Bourne’s New Adventures Ballet productions can almost be guaranteed to be a joy and a treat, and this magical, transporting production of Edward Scissorhands proved to be no exception. 

Many will be familiar with Tim Burton’s 1990 gothic romantic film upon which the ballet is based, and the tale of the acceptance but ultimate rejection of an individual who is ‘different’ to the tight knit, small town community in which they find themselves certainly feels as relevant now as it did then. The performers comprise 6 families of 2 parents (including one same sex couple for this production) and 2 kids, and the uniformity which excludes Edward is a recurring theme throughout. 

The choreography is sublime, and as ever with New Adventures, glides effortlessly between classical ballet, jazz and modern styles. I especially enjoyed the full company sequences at the summer barbeque and the Christmas Ball  – there was an almost palpable energy fizzing its way from the stage to the audience. The gorgeous costumes in these scenes add to this sense of vitality (think the best of 1950s sumptous designs with satin and tulle and sharp suits, alongside the uniform of American movie childhood: baseball outfits and cheerleader style dresses). 

Lez Brotherston’s exceptional costume and set designs arguably bring as much to the ballet as the dancing, creating the atmosphere and vibe of small town, family-centric, identikit-home mid 20^th century America. A dream sequence in which Edward has ‘normal’ hands and dances with Kim Boggs amongst the park topiary is visually stunning as dancers are dressed as topiary themselves (it did not look as if they could possibly see out of their full-cover costumes, but surely they did?!). 

Liam Mower in the titular role beautifully conveys the full range of Edward’s developing emotional states, and the moment in which he first interacts with a regular human in Peg Bogs (whose love and acceptance are beautifully portrayed by Mami Tomotami), as she wipes blood from his face, is in particular deeply moving. 

For me, the stand out dancer of the night was Holly Saw as Kim Bogs –  both the incredible energy and execution with which she danced, and the achingly beautiful way in which she conveyed the arc of her character’s maturing emotions were exceptional and felt like the sentimental heart of the show. The second sequence in which Kim and Edward dance together including lifts which use no hands (due to Edwards blades) is spine-tingling and really quite extraordinary.

Nicole Kabera and Luke Murphy also deserve special mention as the Monroes, providing, by turns, glamour and comedy which light up the stage and brings a warm connection with the audience.

This is ballet ++ and the standing ovation at the end of last night’s performance was testament to the way in which production had captured the hearts of its audience.

Hull New Theatre – until 18th May 2024

Reviewed by Dawn Bennett

5*****

Normally I’m a bit nervous watching scary shows, television programmes or films. I’m definitely a person who would be found hiding behind their hands or a cushion. But 2:22 A Ghost Story was so good I didn’t want to miss a thing!

Writer Danny Robins story is of Jenny (Fiona Wade) her husband Sam (George Rainsford) who have moved into an old house along with their baby daughter. The house is a doer-upper and they have been doing a lot of work on it. Jenny is spooked by being in the house without Sam who is away for work in Sark. At 2:22 in the morning for the last 4 days the baby monitor has picked up footsteps and crying in their daughter’s bedroom and when Jenny goes into the room there is no one, apart from her daughter in there. Jenny hasn’t been able to contact Sam, so when he arrives home saying that he lost his phone she is not pleased to say the least, especially when he doesn’t believe what has been happening. Sams friend from University, Lauren (Vera Chok), and her builder boyfriend Ben (Jay McGuiness) arrive at the house for dinner, to meet the baby and see what they have done to the house. Jenny tells the others what has been happening at 2:22 every night, they seem to be very sceptical and after a lot of persuasion and some scary goings on they decide to stay up to see it happens again.

The set designer (Anna Fleischle), lighting designer (Lucy Carter) and sound design (Ian Dickinson) really set the atmosphere, which was spooky and sometimes downright terrifying and made me and the rest of the audience jump more than I thought it would! What with screams, darkness, pulsing red lights around the stage there was nervous laughter from the audience, after each jump scare, and a lot of that was from me!

The acting was brilliant and the actors made their characters very believable. They are a very strong cast and the 4 of them (along with 2 other company members Aaron Dart and Rachel Morris) were on stage for most of the production.

I will not spoil this superb show by telling you what happened, you really need to go and see it yourself. I cannot recommend this production enough; it keeps your attention from beginning to end and I can guarantee you will be talking about it long after you leave the theatre, but please don’t give away the ending… as the company says “Sshh don’t tell” ….

Royal & Derngate Theatre, Northampton – until Saturday 18th May 2024

Review by Amanda Allen

5*****

For a certain generation the film Grease holds a special place in our hearts and our memories, so it was with some trepidation that I went to see this iconic story on stage, could it possibly be as good? I had imagined the performance would be limited as the film is so BIG in every way and I couldn’t I see how they would fit it on to a stage. However, I was pleasantly surprised, It was incredible.

From the very start the energy of the performance was off the scale, the dancing and singing used intelligently to tell the story of the youth of its time. Rather than just throw loads of songs and dance numbers around the stage, every move earned it place in the story. A great example is when they sing the iconic song Greased Lightening, they don’t start dancing until halfway through as the lyrics about the boy’s fantasy regarding his car are almost too powerful and important to be overshadowed by too much movement. Thus, when the dancing does start its even more moving and powerful.

We all know our favourite songs from the film and I am pleased to say they were all in the stage show. My particular favourite is “There are worse things I could do”, a power ballad sung by Betty Rizzo. In the film this is sung just to herself as a reflection of her life but in the stage show its sung by Rizzo to Sandy, almost as an argument about lifestyle choices, an intelligent change for the stage performance. The new songs fitted in so well it was hard to identify which they were, it was almost as if you already knew them. The role of Betty Rizzo was played brilliantly for this performance by stand in Imogen Malone, she managed to convey both the confidence and vulnerability of the character brilliantly throughout the show, a future leading lady.

The DJ Vince Fontayne, played by Joe Gash was consistently fantastic, with so much energy conveyed so well through the persona of a slightly dodgy DJ he was the thread that drew all the scenes together. Along with George Michaelides who played Kenikie and Alicia Belgarde as Frenchy, they provided so much fast paced dancing, singing and depth of character that the show sped along at an amazingly fast pace. The quality of the dancing and choreography by Arlene Phillips was tremendous throughout, how they got so much movement by so many dancers into such a small space, especially when dancing around a full sized car had to be seen to be believed.

The main Characters of Danny Zuko (Marley Fenton) and Sandy Dumbrowski (Hope Dawe) were played really well, both Danny and Sandy had very strong singing voices that conveyed their emotions and feelings so well throughout the show. The Beauty School Dropout song/scene was presented with fabulous panache, so much pink! All very flamboyant, very camp and perfectly suited to the passive aggressive words being sung.

I was really pleased that much of the iconic film was present in the stage performance such as Sandy’s final line “Tell me about it Stud” and the spray on tight black trousers in the last scene. By the end of the show I was exhausted, just from watching it. I ended the show with a massive smile on my face, along with everyone else in the theatre, the final song and dance sequence leaving us all with very happy memories and singing our favourite songs all the way home. If you need taking back to your youth and cheering up I urge you to go and see it whilst you can.

Hampstead Theatre – until 15th June 2024

Reviewed by Celia Armand Smith

3***

In this revival of Stephen Adly Guirgis’s 2014 play, we are transported to the rent controlled Manhattan apartment of Walter, an ex cop filled with booze and bitterness, and who is living with a carousel of characters all of whom have their own problems. When we meet Walter (Danny Sapani), he is 8 years into a battle with the NYPD after being shot six times when off duty by a white rookie police officer, and he is not giving up. His former partner, Audrey (Judith Roddy), now with a desk job, is trying to convince him to settle the suit, with pressure from her police lieutenant fiance Dave (Daniel Lapaine) who is trying to get into the city’s good books despite the obvious institutionalised racism at play. It’s an election year after all.

Not one of the characters is who they seem on the surface. Walter is not the great police officer or husband he would have us believe, and his son Junior (Martins Imhangbe) is running a dubious business out of his bedroom. Juniors ditsy girlfriend Lulu (Tiffany Gray in an impressive profession stage debut), has a chequered past, and their seemingly sweet friend Oswaldo (Sebastian Orozco) is existing on a knife edge, ready to topple at the drop of a desperate hat. A much talked about visitor from the church, known only as Church Lady (Ayesha Antoine) offers him a chance at spiritual salvation via unusual means. Under direction from Michael Longhurst, the entire cast are entertaining and highly watchable, but Sapani, Antoine and Gray are the most memorable in their roles, bringing life and laughs to their characters.

The production design by Max Jones is a strange mix of domestic setting, streetscape, and rooftop. Some of the elements like the brittle and brown Christmas tree are beautiful and capture perfectly how stagnant Walter’s life has become. There is a bedroom in a box at the back which swivels, flips, and develops as the story progresses, however there are times when it unfortunately feels like a heavy distraction.

There are some minor blips in this play, but they don’t get in the way of Between Riverside and Crazy being an entertaining and poignant look at the life of those failed by their own actions, the people around them, and the systems they exist in.