Forum Theatre, Malvern – 21st March 2024

Reviewed by Courie Amado Juneau

5*****

Malvern Concert Club always presents programmes which reach for the sky, filling the musical firmament with the brightest stars. Tonight we were graced with the presence of violinist Elena Urioste and pianist Tom Poster with an exciting presentation of lesser known works.

I love it when the music is given an introduction on stage – not only does it give us some context to the pieces and why they were chosen but also a chance to get to know our performers. First up was Tom introducing the first half of the show…

…kicking off with Mendelssohn’s Violin Sonata in F (1838). A really lovely work, the first movement has a breathless ending which is charming and this charm continues into the lilting Adagio second movement. The final movement blossoms out with a speed and technical prowess that dazzles in a daring display from tonight’s artists.

It was no surprise during the evening to learn that Elena and Tom had recorded together as they had a natural rapport with a lot of eye contact producing a real intimacy. The balance between them was perfect, they dovetailed with crisp phrasing that brought out the clarity of the music, shining individually whilst also making the other half of the team shine brightly. Bringing the best out of each other sounds like the perfect duo I would say.

Mélanie Bonis’s Violin Sonata in F sharp minor, Op.112 (1923) was next. To me, a rather sad sound-world with a haunting, unfulfilled yearning in the opening movement. After moving through more confident and further sorrowful territory the clouds parted for a quirky finale that had a child like innocence to it.

After the break, Elena outlined the duo’s mission to introduce us to works by lesser known composers and established composer’s overlooked gems. A laudable goal that we can all applaud. And I was so glad they were on this mission as the next piece up was…

Amy Beach’s Romance, Op.23, written in 1893 but sounding way more modern than that. Romance is the perfect title for this work – it’s gorgeous! My favourite piece of the night. Imagine an old Hollywood black and white film where the lovers have a tearful farewell on a train platform… The final violin note supported by piano chords is to die for! Beautiful.

The final piece on the programme was Grieg’s Violin Sonata No.1 in F, Op.8 from 1865. A deceptive opening on the piano leads you to believe we are in for a quiet revelry but the violin soon lets fly with an open, light theme. This work definitely saves the best for last – as in the final movement a breathless ending with pizzicato violin leads to an impassioned series of chords. A joyous way to conclude the evening.

The multiple ovations were thoroughly deserved and we were rewarded with Tom’s own arrangement of “Over The Rainbow”; in probably the best version I’ve ever heard. It sounded fresh and felt like the Ferrero Rocher at the end of a sumptuous dinner party. And this time we really were being spoiled.

Stunning playing, wonderful musicianship, an interesting and well thought out programme. A flawless evening’s entertainment and I thank them both for introducing me to Amy Beech. Just another perfect musical evening in Malvern

Windsor Theatre Royal – until Sat 23rd March 2024

Reviewed by Carly Burlinge

3***

The Haunting is from the ghost stories of Charles Dickens – adapted by Hugh Janes. It tells the story of Lord Gray (Neil James) whilst at his fathers deteriorating mansion after his death. He employs David Filde (Ross Muir) to catalogue his family’s very outstanding library, In order to get the estate settled.

As David works his way through cataloguing it becomes apparent that all is not as it seems. When books begin to fall from the shelves and sinister sounds and voices asking for help tend to appear at night with further strange going-ons. Along with Twitcher Lord Gray’s coachman telling him that the house is haunted and that he shouldn’t be  staying the night. David begins to wonder exactly what threatening secrets the house may hold. He tries to speak to Lord Gray regarding the strange happenings but Grey seems to have an answer for everything and thinks of David as foolish and believes that even his coachman Twicher, loves to tell a great tale at times and should not be listened to! As the evening unravels, his mind begins to change when the unexplained begins to occur more than once. Things start to get far more spookier with books falling from the shelves and a ghostly woman in a torn wedding dress (Char Brickes) appearing before their eyes. Together they work as a team to discover why the unsettling appearances continue to happen.

The two actors played a great contrast between one another with Lord Gray being quite the sceptic and with David playing quite an enthusiastic character regarding the supernatural, balancing them out nicely. I felt that the first half was a little slow but picked up a better pace throughout the second half which was enjoyable to watch.

I have to admit there were a few twists at the end making it up to you to draw your own conclusion, as I found that there were some questions that seemed to be unanswered.
The sound affects added to the dramatic atmosphere alongside the stage which provided everything you needed for a haunted house.

All in all it  was an enjoyable night out at the beautiful Windsor Theatre as always.

York Theatre Royal – Thursday 21st March 2024

Reviewed by Michelle Richardson

4****

On Thursday evening I had the pleasure of watching Le Navet Bete, back on the York Theatre Royal’s main stage, with their brand-new show King Arthur. Throw out anything you know, or think you know, about the King and his knights. This tale of King Arthur is a fresh, bonkers, and reimaging of the legend we all know, from this touring physical theatre company.

Three inept squires, played by Nick Bunt, Al Dunn and Matt Freemen, are all suffering the effects from the night before. There is a realisation that they have gotten into a bit of bother, all three are in the stocks with the front row chucking rotten vegetables at them. With Queen’s “I Want to Break Free” playing, we find out what they are wearing, think back to the iconic video and you get the gist, until Matt reveals himself, a flesh-coloured bodysuit complete with a detachable willy, a sight to behold.

Dave the Rave has promised the young King Arthur, that he, along with his two hapless cronies Edgar and Osbert, will put on a show of all things great about the King and Camelot. There is a huge problem, they can’t act for toffee, and there is nothing about the King or Camelot that is worth mentioning. They need to come up with ideas fast, as the ever-changing deadline approaches.

The three energetic actors take on the roles of Merlin, a underwear boiling madman, Lancelot, a fusspot of a chef with a terrible French accent, a flighty Guinevere, all the would be knights, evil Morgana and Mordred, and of course King Arthur himself, who is played by both Nick and Al. They must beef up the characters to make them show worthy.

The costume and character changes are achieved with lightning speed, exiting through a curtain to entering through a door as a completely different person. It is all absolutely nuts, a whirlwind of stories, and such a feat that they can all pull it off, with enormous help from Fi Russell, the Stage Manager, and the production team, with such aplomb.

You can’t help but laugh along at the slap stick comedy and be amazed at some of the stunts. All three display superb physicality, though Matt is probably the most daring, jumping, tumbling around on set, but Nick and Al aren’t far behind him. You can feel the close bond between the three.

I really enjoy this type of theatre and I have previously seen a couple of their shows, I am a fan of their work. Though this had some great skits, and I enjoyed all the madness and mayhem, at times I think the need to get the joke across was a bit too drawn out, it could have been sharper, they didn’t need to try so hard. The show is still damn funny.

Le Navet Bete (The Daft Turnip) command the stage with their infectious energy and this show is a must for all fans of physical comedy theatre, suitable for all ages. I look forward to their next production and all their antics.

Showing in York until Saturday 23rd March and touring throughout the UK

THE LOWRY THEATRE, SALFORD – 20TH MARCH 2024

REVIEWED BY MIA BOWEN

5*****

Pietro Mascagni’s youthful one-act masterpiece, “Cavalleria Rusticana,” is frequently paired with Leoncavallo’s “Pagliacci,” earning the nickname “Cav ‘n Pag” from opera enthusiasts who see them as inseparable. It was a pleasant change to see Opera North break this convention by staging “Cavalleria Rusticana” alongside Sergei Rachmaninov’s rarely heard “Aleko”, written when he was only 19 years old. Both operas, directed by Karolina Sofulak, highlight the exhilarating and powerful performances of Opera North’s 36-strong chorus and 60-piece orchestra, under the baton of conductor Antony Hermus.

“Cavalleria Rusticana” is performed in Italian and “Aleko” in Russian, with English subtitles displayed on screens, both sides of the stage. The two plots are tragic stories of murder, penned during the late years of the 19th century. Mascagni’s richly orchestrated score features some of the most famous melodies in classical music, including the Easter Hymn and the poignant orchestral Intermezzo. Rachmaninov’s music for Aleko, while less intense, also explores themes of adultery, betrayal, and vengeance in a compelling way.

In both operas, a jealous husband commits murder upon discovering his wife’s infidelity: in Cavalleria Rusticana, he kills her lover, while in Aleko, he kills both of them.

In Cavalleria Rusticana, the main roles are taken on by talented singers known for their powerful vocals that captivate the entire audience, from those in the front row to the farthest seats in the theatre. Andrés Presno impresses with his dark and rich Italian tenor as Turiddù. Giselle Allen delivers a flawless soprano performance as Santuzza, effortlessly rising above the full choir and orchestra during the magnificent Easter Hymn, showcasing the best in the production. I got goosebumps!

In Aleko, soprano Elin Pritchard shines brighter than others on stage with her powerful and pure vocals. She immerses herself in the role with exceptional passion and skill.

The two dance sequences in Aleko are usually performed as beautiful interludes or balletic showcases. These are a standout element for me as Sofulak successfully maintains a high level of dramatic tension. In the first dance, the chorus members provocatively engage with each other. The more unrestrained second dance shows them dancing frenziedly in a dervish-like manner.

This double bill is powerfully effective with dramatic themes that create an intriguing and entertaining night at the opera.

ROYAL EXCHANGE THEATRE, MANCHESTER – UNTIL 13TH APRIL 2024

REVIEWED BY ZOE BROWN

4****

A Taste of Honey by Shelagh Delaney tells the story of an unconventional mother and daughter relationship in late fifties poverty-stricken Salford. Helen, played by Jill Halfpenny, is a single mother who seems to run from man to man, constantly rejecting the welfare or emotional needs of her teenage daughter, in an endless pursuit of something and somewhere better round the corner. ‘The peculiar thing about Salford is that it’s like this terrible drug, you really perhaps want to get away from it, but you can’t, and a lot of people want to get away from Salford’ explains Delaney in a documentary for BBC four. Much like the people of Salford, Delaney writes about her characters being pushed and pulled by their environment, desperate to get away, but ultimately never leaving.

Delaney’s Helen is a restless woman, eager to be alive and retain her vitality, whose actions see her always on a downwards trajectory. In contrast her daughter (Rowan Robinson) who longs to put down some roots and despite recognising Salford as decaying and dirty, wants to stay and build a life for herself, (maybe just not in the dump of a flat they find themselves in at the opening of the play). When Helen leaves Jo again to run off and marry her latest ‘beau’ Jo is left to fend for herself and meets a passing Sailor, Jimmy, upon the dirty docklands of the Manchester Canal. Jimmy, played by Obadiah, woos her with a promise of marriage on his next return and Jo is left to carry his unborn child. Alone and pregnant Jo befriends Geoffrey, who she invites to live with her and who, despite being homosexual, very much cares for, and wants to take care of Jo and her baby.

The concluding scene is a bitter end where we find Jo, alone again, pregnant much like her own mother Helen was when she left to fend for herself whilst pregnant with Jo. This circular story is observational genius by writer Delaney and no less relevant today than it was at the time of writing.

Rowan Robinson’s debut theatrical performance at the Exchange is a fantastically stubborn and petulant young woman who often hides her true feelings behind a sarcastic quip. Jill Halpenny’s portrayal of an uncaring mother Helen is manipulative, fiery and vivacious. She takes us on a wonderful journey with her character to become somewhat remorseful and maternal, even if it is too late and still hidden in the swift snipes towards Jo and her ‘companion’ Geoffrey.

David Moorst’s Geoffrey is believable, funny and heart breaking to watch as he carries the weight of his sexuality and the dynamics of the, at times, scary and confusing mother/daughter relationship he finds himself in the middle of.

Nisha Smith’s entrancing singing weaves between the scenes with a jazzy rendition of ‘Dirty Old Town’ in reverence to the poverty-stricken industrial area of Salford in which the play is set.

The play was written in the ‘kitchen sink’ era however the Exchange’s version swings perhaps a little more toward comedy with theatrical asides and a sending up of some of the deadpan retorts. This said there is a vitality to the performances that means the time, sitting at just over 2hrs and 45mins flies by. An entertaining and thought-provoking production that brings to mind the ongoing themes of a broken societal system with a lack of education, funding and opportunity for working class people in this country, at a time when poverty in England is at a 30 year high and rising.

CONTENT WARNINGS – Contains derogatory language, racial slurs, smoking, and haze.

THE WONDERFUL WIZARD OF OZ

RETURNS TO THE WEST END THIS SUMMER

THE SMASH-HIT PRODUCTION RETURNS TO LONDON FOR A STRICTLY LIMITED FOUR-WEEK SEASON AT THE GILLIAN LYNNE THEATRE FOLLOWING A CELEBRATED RUN AT THE LONDON PALLADIUM AND A RECORD-BREAKING UK AND IRELAND TOUR

STARRING

ASTON MERRYGOLD as THE TIN MAN

THE VIVIENNE as THE WICKED WITCH OF THE WEST

 WITH

AVIVA TULLEY as DOROTHY, BENJAMIN YATES as THE SCARECROW, NIC GREENSHIELDS as

THE COWARDLY LION and ABIGAIL MATTHEWS as TOTO.

FURTHER CASTING TO BE ANNOUNCED

Performances begin Thursday 15 August

www.wizardofozmusical.com

Michael Harrison and the Really Useful Group are thrilled to announce that The Wizard of Oz will conclude its major UK and Ireland tour with a season in London this summer, playing a strictly limited run of 38 performances only from Thursday 15 August – Sunday 8 September 2024 at the Gillian Lynne Theatre. Tickets go on general sale Thursday 28 March at 10am.

This new production of the beloved musical, based on the iconic story by L. Frank Baum,also announces initial casting for London today, as JLS star Aston Merrygold (The Tin Man) and RuPaul’s Drag Race UK winner and Dancing on Ice finalist The Vivienne (The Wicked Witch of the West) areboth confirmed to return to their celebrated roles. Further casting to be announced.

Aston Merrygold and The Vivienne will be joined in the West End by principal company members currently starring in the UK and Ireland touring production, including: Aviva Tulley (Book of Mormon, UK Tour) as Dorothy, Benjamin Yates (ITV’s Emmerdale; Jersey Boys, West End) as The Scarecrow, Nic Greenshields (Love Never Dies West End; Les Misérables West End, International Tour) as The Cowardly Lion and Abigail Matthews as Toto (Bleak Expectations, West End; War Horse, West End). 

Producer, Michael Harrison says of today’s announcement: “The Wizard of Oz was seen by an incredible 185,000 people at the London Palladium last summer and is currently smashing box office records on its U.K. tour, so it feels absolutely appropriate that we return this spectacular production to the West End during the summer holidays for 38 performances only, with an incredible cast led by Aston Merrygold and The Vivienne.”

To book tickets for the London season, and for information about specific casting go to www.wizardofozmusical.com.

Aston Merrygold will perform at select dates, reprising his London Palladium and touring role as The Tin Man. Aston became known for his incredible stage presence during his time with X Factor-formed band JLS, who went on to sell out countless arena tours and sell over 10 million records, including five Number 1 hits and numerous awards. Whilst the band took a seven-year break, Aston made strides in his career appearing in the West End, on Strictly Come Dancing and releasing his platinum debut single Get Stupid and more recently Sweat, Right Here, Overboard and Share a Coke.

JLS made their comeback last year and performed to sold-out arenas all over the UK and Ireland. Aston has continued to remain at the forefront of entertainment, becoming a judge on the Sky 1 talent show, Got To Dance. He was also unmasked as Robin in the Semi Finals of the 2020/2021 series of Masked Singer UK and joined the cast of CBBC’s comedy-drama, Almost Never, playing Jordan, the new manager of The Wonderland, was a panellist on the Masked Singer Live tour across the UK and starred as Willard in Footloose the Musical. Most recently, Aston hosted Heart FM’s Saturday Night 00s Show and has also announced his Solo Tour HousePartyLove where he will be playing in Glasgow, Birmingham, London, Manchester and Belfast in October 2024. FemiAkinfolarin (Treason, UK Tour; Moulin Rouge! The Musical, West End) will appear as The Tin Man at all other dates (see notes to editors).

The Vivienne is set to wow the West End as The Wicked Witch of the West following her celebrated performances on tour. The Vivienne is without doubt the UK’s No.1 drag superstar, after emerging as the original champion of the first season of RuPaul’s Drag Race UK. Since then, she has become a huge star both in the UK and internationally appearing on TV regularly and releasing music for fans across the globe. 2022 saw The Vivienne’s TV career go global when she appeared on ‘RuPaul’s Drag Race All Stars All Winners’ on US TV.

2023 saw The Vivienne make history as the first drag star to appear on a major UK reality competition series, competing in ‘Dancing On Ice’ on ITV. Viv made it through the Top 3, with breathtaking performances in the final. 2023 also saw The Vivienne become the face and voice of the BBC’s Eurovision Song Contest trailers. In addition, she performed ‘Waterloo‘ at the massive Eurovision opening ceremony in Liverpool city centre.

The Wizard of Oz on tour is presented Michael Harrison, Gavin Kalin Productions, David Mirvish, Crossroads Live, Nick Thomas, Rupert Gavin and Mallory Factor, Jake Hine and Playing Field, by arrangement with the Really Useful Group Ltd. Originally produced at Curve.

UK TOUR DATES ANNOUNCED FOR

ROBERT ICKE’S PRODUCTION OF

PLAYER KINGS

ADAPTED FROM SHAKESPEARE’S HENRY IV, PARTS 1 & 2

STARRING IAN MCKELLEN, TOHEEB JIMOH AND RICHARD COYLE

Ambassador Theatre Group Productions today announce Player Kings, adapted and directed by Robert Icke from William Shakespeare’s Henry IV, Parts 1 and 2 is to go on a UK tour following its West End run at the Noël Coward Theatre, 1 April – 22 June 2024

The production will visit Bristol Hippodrome (3 – 6 July 2024),  Birmingham Alexandra (10 – 13 July 2024), Norwich Theatre Royal (17 – 20 July 2024) and Newcastle Theatre Royal (24 – 27 July 2024).

Ian McKellen said today, “Player Kings is a version of Shakespeare’s most English plays. So I am glad we are bringing our production across the country which they celebrate.”

Ian McKellen – ‘one of the world’s greatest actors’ (Times) – plays Falstaff in a new version of Shakespeare’s Henry IV, adapted by the award-winning writer and director Robert Icke. 

A divided country, leadership crumbling, corruption in the air. Welcome to England. 

Hal wasn’t born to be king. Only now, it seems, he will be. His father longs for him to leave behind his friends in the taverns of Eastcheap, most notably the infamous John Falstaff. War is on the horizon. But will Hal ever come good?

Bringing together Shakespeare’s two great history plays (Henry IV, parts 1 and 2), Player Kings will reign over London’s West End for twelve weeks only, playing at the Noël Coward Theatre from April, before touring to Bristol, Birmingham, Norwich and Newcastle through July 2024.

The cast comprises Ian McKellen as Sir John Falstaff, Toheeb Jimoh (Ted Lasso & Romeo and Juliet) as Prince Harry and Richard Coyle (Ink & Fantastic Beasts: The Secrets of Dumbledore) as King Henry IV, with Raphael Akuwudike (Prince John), Sara Beharrell (Snare/Davy), Samuel Edward-Cook (Hotspur/Pistol), Geoffrey Freshwater (Bardolph), James Garnon (Worcester/Justice Silence), Alice Hayes (Messenger), Henry Jenkinson (Harcourt), Nigel Lister (Northumberland/Francis) Annette McLaughlin (Warwick), Mark Monero (Peto), Hywel Morgan (Sir Walter Blunt), Joseph Mydell (Lord Chief Justice), Clare Perkins (Mistress Quickly), Daniel Rabin (Poins), David Semark (Sir Richard Vernon), David Shelley (Sheriff), Robin Soans (Justice Shallow), Tafline Steen (Doll Tearsheet/Lady Percy) and Perry Williams (Douglas/Prince Thomas) completing the cast.

Set and Costume Designer: Hildegard Bechtler; Lighting Designer: Lee Curran; Sound Designer: Gareth Fry; Casting Director: Julia Horan CDG; Fight Director: Kev McCurdy; Associate Costume Designer; Johanna Coe; Hair and Make-up Designer: Susanna Peretz; Associate Directors: Jack Bradfield and Lizzie Manwaring

Produced by Ambassador Theatre Group Productions, Gavin Kalin Productions, No Guarantees and David & Hannah Mirvish, Rupert Gavin & Mallory Factor Partnership, and Sayers & Sayers Productions.

www.playerkingstheplay.co.uk

Facebook | Instagram | X: @playerkingsplay

LISTINGS

PLAYER KINGS

Box Office: www.playerkingstheplay.co.uk

Manchester Opera House

Until 23 March 2024

On sale now

Noël Coward Theatre

1 April – 22 June 2024

On sale now

Bristol Hippodrome

3 – 6 July 2024

ATG+ Presale: 21 March at 10am

General on sale: 22 March at 10am

Birmingham Alexandra

10 – 13 July 2024

ATG+ Presale: 21 March at 10am

General on sale: 22 March at 10am

Norwich Theatre Royal

17 – 20 July 2024

Priority booking: From 25 March at 10am

General on sale: 29 March at 10am

Newcastle Theatre Royal

24 – 27 July 2024

Friends Booking: 17 April at 10am

General on sale: 25 April at 10am

Leeds Grand Theatre – until 23 March 2023

3***

The Drifters Girl takes us through the life of the band under the management of Faye Treadwell through to a major court case about the ownership of The Drifters’ brand. Told retrospectively, with very minimal staging, starting off outside the courthouse taking us back through the band’s history using Faye’s daughter Tina, who had the original idea for the musical, as the guide to the story

The band seemed to have an ever revolving door with members, with some lasting for just one show, so there’s a lot of story to be told. But, with so much ground to cover, it’s unsurprising that the narrative skips lightly through the band’s history. Whilst you get a strong flavour of the band, its evolution, and its challenges, there’s very little emotional or dramatic heft to the story. Some major parts are given a little more focus but far from enough considering their subject matter. Gender, colour, and sexuality are all touched upon but never given the depth of attention these subjects deserve.

The use of Tina (Jayden Bell-Ricketts) to drive the narrative forward is an interesting device, but the mother/daughter relationship is never built upon, so that some of the show’s emotional focal points end up lacking any real emotion.

Where the show shines, however, is in the performances. I was looking forward to seeing Carly Mercedes Dyer in the role of Treadway, after interviewing her earlier in the run.  However, her absence meant we had the pleasure of Loren Anderson in the main role, her performance was bold, sassy, but for me, a bit reserved. But what the script failed to deliver in emotional engagement, Anderson made up for in her singing, especially during Harlem Child

Alongside her are true stars of the show, namely The Drifters. However EVERY male character is played by the same four actors – Miles Anthony Daley, Ashford Campbell, Tarin Frimpong and Daniel Haswell. Either by changing a jacket, hat or just expecting us to guess who they are at that moment, and I wasn’t the only one to find this confusing.  Thankfully in the second act this was remedied with the change of accents too, making things much clearer.

The vocal are outstanding, everyone was note perfect and the live band (Dustin Conrad, James Beal, Eleanor Sandbrook, Dan Taylor, Dan Booth, Bret Vanderburg and Charlie Maguire) was exceptional.

The show is filled to the brim with Drifters songs including Saturday NIght at the Movies, Under the Boardwalk and my favourite There Goes My First Love.  So if you want to hear some outstanding vocals this is the show for you, but if you want to hear about the story of Faye and the Drifters, it might be better to check the internet first.

NB if you get visual disturbance headaches be aware of flashing lights and whilst waiting for the curtain to rise, there is a rotating record which is very discombobulating

Alphabetti Theatre, Newcastle – until 6th April 2024

Reviewed by Sandra Little

3***

Imaginary Friends at Alphabetti Theatre is a solo show written and performed by award winning writer-performer Daniel Bye. Daniel plays the part of a comic struggling to write amusing scripts for his television show.

After being affected by a tragic death, Daniel engages in conversation with, and finds some solace from, a group of imaginary friends. Some of the conversations Daniel has in his imaginary world are with his deceased brother who, we are told, thought people are fundamentally good. In stark contrast other imaginary conversations are with Piers Morgan and Tom Tugendhat. M.P. In these scenarios Jeremy Clarkson and Manic Street Preachers are also mentioned!

This performance which lasts about 1 ¼ hours covers a wide range of topics including government plans to send refugees to Rwanda, references to suicide, the use of artificial intelligence in the modern world. There is also a discussion between Daniel and his imaginary friends on the benefits of the total annihilation of the human race!

Alongside the “conversations” Daniel has with his friends he uses descriptive language effectively to convey a range of scenarios . The image of a cat stalking small birds is a recurring theme in the performance, as is the reaction of a crowd to the sight of someone (maybe Piers Morgan) standing on the ledge of a tall building. There is also a detailed description of an event that takes place on The Underground in London.

Animated storytelling skills and a high energy solo performance raise diverse questions and observations about our relationships, climate change and the extinction of the human race! Dan asks if the death of a loved one is the same as the end of the world for example, he suggests that if the human race was wiped out we would reach net zero quite quickly and also maintains that, “if you let yourself fall people will catch you.” This latest offering from Alphabetti certainly leaves the audience with plenty of thought provoking material.

In terms of props to assist with his delivery, Dan relies on a Costa coffee cup and a Monster Munch crisp packet!

To enable everyone to engage with theatre Alphabetti have a “Pay what you feel” policy for some performances and this policy applies to Imaginary Friends until Saturday 23rd March.

Mayflower Theatre  – until 20th March 2024

Reviewed by Heather Chalkley

4****

Director Olivia Fuchs has taken on one the most complex operas of the 20^th century, combining the genre’s of opera and circus, to create a unique performance that has to be seen to be believed. The score is considered to be Britten’s masterpiece and is brought to life by conductor Leo Hussein. 

A dark story of loss and obsession, lead tenor Marc Le Broc (Gustav Von Aschenbach) takes us on a journey,  through the torment and change in Aschenbach’s search for inspiration. Having lost his creative flow, the acclaimed author flees to Venice. Le Broc (Aschenbach) begins as the embodiment of an upright, calm and controlled German citizen, his body language and musical tone perfectly capturing the change as he falls into an obsessive malady, chaos gradually taking over. The focus of his obsession, Tadzio, is played by NoFit Circus member Antony Cesar, a beautiful golden youth that never speaks or barely notices Aschenbach. Cesar’s (Tadzio) exceptional skill and strength takes your breath away, combining the art of dance and circus to deliver his story. 

The many layers of the piece are delivered by the commanding voices of fellow tenors Roderick Williams and Timothy Morgan. Alongside the ensemble, showing you the darker side of Venetian life and the grip of the plague that eventually takes the life of Aschenbach (Le Broc). Combined with the deliciously fluid performance by NoFit Circus, the two genres fit strangely well together. 

The stripped back set and use of projected images cleverly creates the atmosphere and illusion of Venice. You can focus on the performers without distraction. The final scene is exquisite, depicting the moment when Tadzio swims out into a perfect azure sea, seemingly beckoning Aschenbach to join him and Aschenbach finally dies.

Britten himself was dying when he wrote this piece and it is thought he poured himself into the story. Not an opera for the faint-hearted, certainly one that captivates until the very end.