Capital Theatres’ first technical theatre apprentice is a flying success

5 March, Edinburgh: This Scottish Apprenticeship Week, Capital Theatres celebrates the success of the organisation’s first ever scenic flying technical theatre apprentice, Liz Dokukina.  

Launched in October 2023, in partnership with Edinburgh College, this apprenticeship offers a unique training experience as Liz learns the art of ‘flying’ – the operation of a traditional theatrical rigging system, which lifts scenery to-and-from the stage. This distinct flying apprenticeship is an area typically difficult to gain experience in and is in high demand within the industry. For Liz, the apprenticeship offers hands-on training in a live theatre setting and an SCQF Level 7 Diploma in Technical Theatre and Production Operations qualification. For Capital Theatres, it represents a welcome opportunity to preserve key technical theatre skills and provides a valuable route into employment for young people.  

The Festival Theatre has one of the largest counterweight fly systems in the country, consisting of 75 fly bars each holding up to 400 kilograms of weight. As part of her apprenticeship, Liz is learning how to safely operate this theatrical flying system that moves backdrops and scenery in and out of the audience’s sight. 

Despite joining the theatre just a few months ago, Liz has excelled in all aspects of her work and has already flown her own show for the first time – Carlos Acosta’s On Before. Later this month, Liz is due to visit the Wales Millenium Centre in Cardiff to work on Matthew Bourne’s Edward Scissorhands before it heads to the Festival Theatre in May.  

Liz Dokukina, Technical Theatre Apprentice at Capital Theatres said:  

“It is a fantastic opportunity, and I am so glad that it exists, especially as someone who has a passion for theatre but didn’t have any technical qualifications. Now I can learn hands-on while studying towards a qualification and also earning a living. It’s been really fun – it’s a dream coming into work knowing that you’re going to have a good day. I love the learning process. With every show that comes in, there’s a new technique for me to learn. 

Everyone at Capital Theatres has been so supportive and learning from my mentor Mark Pringle (our resident flyman) has been absolutely fantastic! He so clearly understands his craft, having started at the Festival Theatre when it opened 30 years ago, and it is a privilege to learn from him. The team has created a brilliant learning environment, and I am in very safe hands.” 

Fiona Gibson, Chief Executive of Capital Theatres said:  

“It has been so lovely to see Liz flourish in this key technical skill which is incredibly in demand and fundamental to the complex technical operation of a theatre of our scale and more widely across the sector. We are thrilled to be working in partnership with Edinburgh College in offering this Technical Theatre Modern Apprenticeship and are privileged to have a team of highly talented and experienced technicians operating one of the largest counterweight fly systems in the country. Modern apprenticeships are critical to our strategic planning through the building of future technical talent and the lifeblood of keeping all of our stages fresh for exciting new programming for the long term.” 
 

Audrey Cumberford, Edinburgh College Principal, said:  

“We are delighted to be able to deliver this apprenticeship with colleagues at Capital Theatres. Our joined-up approach ensures that Liz is benefitting from the unique blend of industry and education that apprenticeships offer, ensuring Liz will have the necessary skills and knowledge needed for a successful career in Technical Theatre.” 

Following the success of Liz and the first Technical Theatre Modern Apprenticeship, Capital Theatres is launching a second apprenticeship later in 2024, continuing this hands-on training experience in a live theatre setting alongside study towards an SCQF Level 7 Diploma in Technical Theatre and Production Operations.   

Yesterday I had the absolute pleasure of watching the Hessle Theatre Company’s open rehearsal of their forthcoming production of Crazy For You which will be at Hull New Theatre from 19th to 23rd March 2024.

I watched a full run through with rehearsal props, no costumes, make up, wigs, a set or the 16-piece orchestra that will be in the show and frankly I was blown away by the talent that was in the show. It was funny, the singing was off the scale and the acting and dancing were so good. And the casts timing…wow. I can’t believe they still have 2 more weeks of rehearsals!

Crazy For You is a brand-new take on the George Gershwin musical called ‘Girl Crazy’ and most recently, in 2023, it had a 30-week run in London’s West End starring Charlie Stemp. I hadn’t realised how many of the songs I actually knew. They included “Embraceable You”, “Someone to Watch Over Me”, “I Got Rhythm” and many more.

Hessle Theatre company have been performing at Hull New Theatre since 1958 bringing many premier musicals to the stage and Crazy for You will be their 101st production. Since their formation, in 1922, many of their members have gone on to careers in film, theatre and television and all this being done as not for profit organisation with charitable status.

If the full show is half as good as this open rehearsal the New Theatre audience is in for an absolute treat. This is definitely a show not to be missed

CARLOS ACOSTA’S

BRAND-NEW DANCE PRODUCTION

CARLOS ACOSTA’S NUTCRACKER IN HAVANA

TO OPEN AT NORWICH THEATRE ROYAL

FOLLOWED BY UK TOUR

FROM 1 NOVEMBER 2024

Norwich Theatre and Valid Productions are delighted to announce the brand new dance co-production CARLOS ACOSTA’S NUTCRACKER IN HAVANA, choreographed and directed by Carlos Acosta CBE, which will open at Norwich Theatre Royal on 1 November 2024 before embarking on a UK tour including a week-long run at London’s Southbank Centre in December 2024.

NUTCRACKER IN HAVANA is a colourful Cuban take on the festive classic, set to an exuberant Cuban newly-commissioned version of the magnificent Tchaikovsky score, arranged by Cuban composer Pepe Gavilondo. Featuring over 20 dancers from Carlos’ Cuban company Acosta Danza, this traditional story is brought to life with ballet at its core but in Carlos’ unique style, seeing dance traditions of Cuba carefully fused and woven throughout the classic tale.

With spectacular video projection and set design by Nina Dunn (9 to 5 Musical, Bonnie and Clyde, Birmingham Royal Ballet’s Don Quixote), Cuba collides with the Land of Sweets, bringing snow to Havana in a visually stunning spectacular treat for all.

Carlos Acosta CBE said: “I am so excited to be bringing Acosta Danza to the Nutcracker. My generation in Cuba grew up without the spirit of Christmas and with this show I can combine the joy of the Nutcracker with the vibrant Havana culture. I cannot wait to take audiences from the humble settings of Clara’s home through to the beautiful dream sequences passing through the grand and vibrant Havana ballrooms of the 1940s and 50s.

“I have always taken pride in recreating some of the most iconic and loved ballet titles, from Carmen through to Don Quixote. Infusing the colour, feel and vibrancy of Havana with the tradition and beauty of Nutcracker is a real highlight for my career.”

Stephen Crocker, Chief Executive and Creative Director of Norwich Theatre said: “Norwich Theatre is delighted to be working with Carlos Acosta, Acosta Danza and Valid Productions once again, following the success of our partnership in reviving Carlos’ solo show, On Before, which continues to tour in the UK and internationally. This is the next major step in Norwich Theatre’s evolution as an originator of new work and creative force bringing the world to Norwich and Norfolk and taking Norwich and Norfolk to the world.

“The whole Creative Team and I are so inspired by Carlos’ vision for a fresh and different Cuban telling of this much loved tale. I hope that Nutcracker in Havana will both capture the imagination of dance lovers and also bring new audiences to dance. I am proud that we are creating a Nutcracker able to tour to the widest range of venues and to towns and cities not regularly receiving dance of this scale and quality.” 

International superstar Carlos Acosta was born in Havana, Cuba and trained at The National Ballet School of Havana. After winning a succession of awards, including the 1990 Prix De Lausanne, he went on to dance professionally with the world’s most prestigious companies, with London’s Royal Ballet becoming his home. Carlos retired from classical ballet in 2016, after 28 years, having performed almost every classical role from Spartacus to Romeo. Carlos created many award-winning shows throughout his ballet career, including Tocororo, and Carlos Acosta and Friends of the Royal Ballet, also choreographing the Royal Ballet productions of Don Quixote and Carmen and the 2014 West End production of Guys and Dolls. He has also written two books, including a work of fiction ‘Pig’s Foot’ and his autobiography ‘No Way Home’. Yuli, a film inspired by his life, premiered at the San Sebastian, Havana and Berlin Film Festivals to critical acclaim before its premiere and general release in April 2019.

The culture and history of Carlos’ homeland have been important influences throughout his career and continues to be so following the establishment of his own dance company, Acosta Danza, in 2016. The company tours the world with its vibrant combination of classical and contemporary, fused with Cuban elements of dance. In 2017, Carlos opened his first Dance Academy through the Carlos Acosta International Dance Foundation and in 2023 opened The Acosta Dance Center in Woolwich. He was also recognized in the Queen’s New Year’s Honours List and received a CBE in 2014, later also receiving the Queen Elizabeth II Coronation Award from The Royal Academy of Dance in 2018 and the Critics’ Circle’s Annual Award for Outstanding Services to the Arts in 2019. In January 2020, Carlos became Director of Birmingham Royal Ballet.

NUTCRACKER IN HAVANA is choreographed by Carlos Acosta, with video projection and mapping by Nina Dunn, costume design by Angelo Alberto, compositions and arrangements by Pepe Gavilondo Peón and set and lighting design by Andrew Exeter.

NUTCRACKER IN HAVANA is produced by Norwich Theatre and Valid Productions.

Website: nutcrackerinhavana.com

Instagram: @nutcrackerinhavana

2024 – 2025 TOUR SCHEDULE

1 – 3 November                      Norwich Theatre Royal                                 01603 630 000

                                                www.norwichtheatre.org                                On sale 8 March

8 – 9 November                      Canterbury Marlowe Theatre                        01227 787787

                                                www.marlowetheatre.com                             On sale soon

19 – 20 November                  Aylesbury Waterside Theatre

                                                www.atgtickets.com/aylesbury-waterside-theatre On sale soon                 

26 – 27 November                  Richmond Theatre    

                                                www.atgtickets.com/richmond-theatre          On sale soon                         

10 – 15 December                  London Southbank Centre                            020 3879 9555

                                                www.southbankcentre.co.uk                          On sale soon

10 – 11 January                      Woking New Victoria Theatre

                                                www.atgtickets.com/new-victoria-theatre      On sale soon

17 – 18 January                      Milton Keynes Theatre

                                                www.atgtickets.com/milton-keynes-theatre   On sale soon

27 – 28 January                      Salford Lowry                                              0161 876 2000                                                                                                                              www.thelowry.com                                       On sale 8 March

Additional venues to be announced.

Priscilla the Party! began performances at HERE at Outernet in London’s Soho yesterday, Sunday 3 March and the official opening is on Monday 25 March.

Priscilla the Party! stars Trevor Ashley as ‘Gaye Cliché’, Owain Williams ‘Tick’ / ‘Mitzi’, Dakota Starr ‘Bernadette’ and Reece Kerridge ‘Adam’ / ‘Felicia’, Grace Galloway, Gracie Lai and Sara Louise as the ‘Divas’ and Steven Serlin as ‘Bob the Mechanic’, with Joni Ayton-Kent as Alternate ‘Bernadette’.  Also in the cast will be John McGlone, Matthew Facchino, Isidro Ridout, Brandon Gale, William Elijah-Lewis, Samuel Stokes, Dan Holland, Kimberly Blake, Lucy Park, Maria Myatt and Teagan Denham.

Priscilla the Party! is a celebration of 30 years of glamour and iconic entertainment and is staged by the creative team behind Priscilla Queen of the Desert The Musical – you can expect the same award-winning costumes and head-dresses, re-directed by original director Simon Phillips and choreographed by Andrew Hallsworth.

Based on the Oscar-winning movie and Tony Award- and Olivier Award-winning musical, Priscilla the Party! tells the same heart-warming, uplifting story of three friends, who hop aboard a battered old bus to seek fame and fortune in Alice Springs, and end up finding more than they could have ever dreamed of.  It is 30 years since the unforgettable film, Priscilla Queen of the Desert, graced our screens and almost 18 years since London first embraced the phenomenal stage musical.  Attendees are invited to unleash their inner diva as Priscilla Queen of the Desert transitions from a beloved musical into an extraordinary immersive party.  Guests can choose between an exclusive premium dining experience, featuring a sumptuous three-course meal, or opt to sit or stand on the dance floor, where a diverse array of bar snacks and drinks are readily available from the expansive bar area.

The audience can expect an extravagant display of eye-popping costumes, an exhilarating soundtrack that encourages everyone to dance and sing along, and a show which unfolds all around them.  There are immersive dance floor tickets as happens at Guys and Dolls at the Bridge Theatre, with DJ and pre-show entertainment similar to Here Lies Love at the National Theatre, a party sing-a-long atmosphere like ABBA Voyage at the ABBA Arena and dining options and post-show party as happens at Mamma Mia! The Party – in other words, something for everyone!

Theatre Company in search of a Demon Barber for exciting new
musical production!

Wakefield based theatre company, Diva Productions, are on the search for local talent to join them in a thrilling new production of SWEENEY TODD: The Demon Barber of Fleet Street. Following the success of recent sell-out productions of Ghost: The Musical and Elf: The Musical, the company is looking for strong singers, actors and dancers to join them in a innovate, dark and immersive retelling of this popular Sondheim musical which will be staged in-the-round at Unity Hall in Wakefield in November.

“We are looking for local talent to join us for this bloody and brilliant musical in a variety of roles.” says Artistic Director Andrew Ashley. “Sweeney Todd is a one-of-a-kind musical, that is rarely performed regionally, so this is a great opportunity for performers to get involved in what we promise to be an exciting and innovative telling of this chilling tale. We support diverse casting and welcome performers of all genders, ethnic backgrounds and body type to audition for ALL roles. ”

One of the darkest musicals ever written, Sweeney Todd, tells the infamous tale of an unjustly exiled barber who returns home to Victorian London, seeking vengeance against the lecherous judge who ruined his life. The road to revenge leads Todd to Mrs. Lovett, a resourceful proprietress of a failing pie shop, above which he opens a new barber practice. Mrs. Lovett’s luck sharply shifts when Todd’s thirst for blood inspires the integration of an ingredient into her meat pies that has the people of London lining up… and the carnage has only just begun!

Open auditions will be held on Sunday 17th March 2024 in Ossett. If you love to sing, dance and act and you think you have what it takes to star in a big musical production then Diva want to hear from you. For all the details you need, to get an audition pack and to register for your audition head over to their website: www.divaproductions.co.uk/sweeney-todd.

WISE CHILDREN AND RSC ANNOUNCE FULL CAST FOR

THE WORLD PREMIÈRE OF HANIF KUREISHI’S

THE BUDDHA OF SUBURBIA,

ADAPTED AND DIRECTED BY EMMA RICE

With their production of Blue Beard currently on tour, Wise Children today announce full cast for the world première of Hanif Kureishi’s The Buddha of Suburbia – adapted by the company’s Artistic Director Emma Rice, with Kureishi. The production runs at the Swan Theatre in Stratford-upon-Avon in a co-production with the Royal Shakespeare Company (RSC) as part of Daniel Evans and Tamara Harvey’s inaugural season as Co-Artistic Directors.

Rice directs Dee Ahluwalia, Ankur Bahl, Raj Bajaj, Tommy Belshaw, Rina Fatania, Natasha Jayetileke, Bettrys Jones, Simon Rivers, Lucy Thackeray and Ewan Wardrop. The production opens on 30 April, with previews from 18 April, and runs until 1 June.

Emma Rice, Artistic Director of Wise Children said, “I’m honoured and excited to be part of Tamara and Daniel’s inaugural season as Co-Artistic Directors at the RSC. It’s magic to be returning to The Swan stage – and in such a thrilling way! There’ll be no iambic pentameter here, oh no! Expect party poppers, lawn mowers, bean bags and balloons!

“Hanif Kureishi’s debut novel The Buddha of Suburbia is a messy, joyful, and angry love letter to family, theatre and music. Funny and tender in equal measure, this landmark story fizzes with rebellion, confusion, love and acceptance.

“I couldn’t be more delighted to be working with my hero Hanif Kureishi on transforming his literary masterpiece into a joyful theatrical whoop. As the dawn of a new era shines upon the Swan stage, Buddha promises to be dashing, dirty, devasting and hopeful – just as theatre should be!”

Hanif Kureishi said today, “I am absolutely thrilled that Emma Rice is adapting my novel for the Royal Shakespeare Company. Emma has a uniquely theatrical imagination, which, in combination with my own theatre background and the novel’s partial setting in the theatre, will result in a vibrant and provocative production.”

A Wise Children and RSC Co-production

THE BUDDHA OF SUBURBIA  

Based on the novel by Hanif Kureishi

Adapted for the stage by Emma Rice, with Hanif Kureishi

Directed by Emma Rice

Swan Theatre 

Thursday 18 April – Saturday 1 June  

Press Night: Tuesday 30 April at 7pm  

Cast: Dee Ahluwalia (Karim), Ankur Bahl (Haroon), Raj Bajaj (Changez), Tommy Belshaw (Charlie/ Shadwell), Rina Fatania (Tracey/Jeeta/Marlene/Auntie Jean), Natasha Jayetileke (Jamila), Bettrys Jones (Margaret/ Eleanor), Simon Rivers (Anwar/ Uncle Ted), Lucy Thackeray (Eva) and Ewan Wardrop (Matthew Pyke).

Set Designer: Rachana Jadhav; Costume Designer: Vicki Mortimer; Sound and Video Designer: Simon Baker; Lighting Designer: Jai Morjaria; Composer: Niraj Chag; Choreographer: Etta Murfitt; Fight Director: Kev McCurdy; Casting Director: Matthew Dewsbury CDG

An irresistible, heart-breaking and joyful exploration of family, friends, sex, theatre and, ultimately, belonging. Emma Rice adapts the award-winning 1990 novel, The Buddha of Suburbia with Hanif Kureishi in a major new co-production with Wise Children and the RSC.

Emma Rice is the Artistic Director of Wise Children and is an internationally respected theatre-maker and director. For Wise Children she has adapted and directed Blue Beard, The Little Matchgirl and Happier Tales, Wuthering Heights, Bagdad Café, Angela Carter’s Wise Children, Enid Blyton’s Malory Towers and Romantics Anonymous. As Artistic Director of Shakespeare’s Globe: Twelfth Night, A Midsummer Night’s Dream and The Little Matchgirl (and Other Happier Tales). Rice worked for Kneehigh as an actor, director and Artistic Director, creating critically acclaimed productions including, but not limited to: The Flying Lovers of Vitebsk, 946: The Amazing Story of Adolphus Tips, The Wild Bride, The Red Shoes, Cymbeline (in association with RSC), A Matter of Life and Death (in association with National Theatre), Brief Encounter (in association with David Pugh and Dafydd Rogers Productions), Don John (in association with the RSC and Bristol Old Vic), Wah! Wah! Girls (in association with Sadler’s Wells and Theatre Royal Stratford East for World Stages), and Steptoe and Son. She received the Outstanding Contribution to British Theatre award at the 2019 UK Theatre Awards.    

Hanif Kureishi is a novelist, playwright, and screenwriter. His father’s family was displaced during the partition of India and Pakistan. Due to his mother being English, the family ended up in London. Hanif studied philosophy and achieved early success as a playwright. He collaborated with several London theatre companies. Commissioned by Channel 4, he wrote the script for My Beautiful Laundrette, which earned him an Oscar nomination for Best Original Screenplay. The Buddha of Suburbia, his debut novel, was adapted into a television series, featuring a soundtrack by David Bowie. His book Intimacy sparked controversy due to its autobiographical nature, which Hanif denied. The film adaptation, Intimacy, based on his stories and the book, was released in 2001. For the screenplay of the film Venus, Hanif received another Oscar nomination. The film was directed by his close friend Roger Michell. In 2008, he was appointed Commander of the Order of the British Empire, and in 2014, he sold his archive to the British Library. In December 2022, he suffered a serious fall in Rome, resulting in paralysis. After an extended stay in rehabilitation centres, he now resides at home in an adapted residence in London. 
 
Dee Ahluwalia plays Karim. This is Dee’s debut season with the RSC. His theatre credits include Our Generation (National Theatre). For television, his work includes Everything Now, A Gentleman in Moscow and Fifteen Love; and for film, Consent.

Ankur Bahl plays Haroon. His theatre credits include Volpone, The Empress, Twelfth Night, The Tempest, The Comedy of Errors (RSC), The Father and the Assassin (National Theatre), Wise Children (Wise Children/The Old Vic), A Midsummer Night’s Dream (Shakespeare’s Globe), Can We Talk About This?, To Be Straight With You (DV8/National Theatre). For television his credits include The Regime, Mary and George, Silo, Suspect, and Avenue 5; and for film, Albion, Buckingham Murders and The Surprise.  

Raj Bajaj plays Changez. His theatre credits include Empress, Tartuffe, Tamburlaine (Royal Shakespeare Company), Wildfire Road (Sheffield Crucible), Hobson’s Choice (Royal Exchange Manchester), Rapunzel (Theatre Royal Stratford East), Lions & Tigers, The Merchant of Venice (Shakespeare’s Globe) and East is East (Northern Stage). For television, his credits include Casualty, The Offenders, Killing Eve, Doctor Who and The Garden; and for film, The Lecture, Pray, A Christmas Prince 2 and A Christmas Prince 3.

Tommy Belshaw plays Charlie/ Shadwell. His television credits include The Sparticle Mystery and for short films, Lost Horizon and Napoleon’s Nose. The Buddha of Suburbia will mark his stage debut.

Rina Fatania plays Tracey/Jeeta/Marlene/Auntie Jean.  Her theatre credits include Sheila’s Island, Anita & Me, The Tin Drum (UK tour), Dead Dog in a Suitcase (UK & International tours), NW Trilogy (Kiln Theatre), The Man In The White Suit (Wyndham’s Theatre), The Village, Love N Stuff (Theatre Royal Stratford East), Oliver Twist (Regents Park Open Air Theatre), Roller Diner (Soho Theatre), The Empress (Royal Shakespeare Company) and Dick Whittington (Hackney Empire). For television, credits include Wanderlust, People Just do Nothing; and for film, Little English and Raabta.

Natasha Jayetileke plays Jamila. Her theatre credits include Pandemonium (Soho Theatre), NW Trilogy (Kiln Theatre), Bend It Like Beckham (Phoenix Theatre) The Lion King (Lyceum Theatre), Eurobeat, Britain’s Got Bhangra and Mahabharata (UK tours), Joseph and the Amazing Technicolour Dreamcoat (New London Theatre) and Wah! Wah! Girls (Peacock Theatre). For television, her credits include Beyond Boundaries and Hustle; and for film, Mistress of Spices.

Bettrys Jones plays Margaret/ Eleanor. Her theatre credits include A Christmas Carol – A Ghost Story (Nottingham Playhouse), Yr Hogyn Pren (Theatr Genedlaethol Cymru), The Art Illusion (Hampstead Theatre), Red Ellen (Northern Stage), The Fir Tree, Hamlet, As You Like It, The Little Match Girl (Shakespeare’s Globe), Bagdad (The Old Vic), Wise Children (Wise Children/ The Old Vic), We Want you To Watch, Edward II, Warhorse (National Theatre) A Midsummer Night’s Dream and Comedy of Errors (Royal Shakespeare Company). For television, her credits include Midsomer Murders and Skins; and for film, Cyrano and Private Peaceful.

Simon Rivers plays Anwar/ Uncle Ted. His theatre credits include Falkland Sound, The Empress, (Royal Shakespeare Company), Glitterball, Pyar Actually (RIFCO Arts), My Beautiful Laundrette (Leicester Theatre), East is East (Northern Stage) and Wipers (UK tour). For television, his credits include Anansi Boys, Call the Midwife and Girlfriends; and for film, Where the Skin Lies and ID2: Shadwell Army.

Lucy Thackeray plays Eva. Her theatre credits include Brief Encounter (UK tour), Heroine (Hightide), A Midsummer Nights Dream (Shakespeare’s Globe), Bike, Fallen Angels (Salisbury Playhouse), My Beautiful Black Dog (Bush Theatre), Jonathan Harvey’s Corrie (International tour), Best of Soho Slam (Soho Theatre), Ladies Day, How the Other Half Loves, Noises Off and Sweeney Todd (Queen’s Hornchurch). For television, her credits include Black Ops, Top Boy, The Walk-In, The Dumping Ground and Don’t Forget the Driver; and for film, Moon Knight, A Royal Night Out and iboy.

Ewan Wardrop plays Matthew Pyke.His theatre credits include Bagdad Cafè, A Monster Calls, The American Clock (The Old Vic), Jane Eyre (Watermill Theatre), Formby, Rebecca, Enron, Treasure Island (UK tours), Much Ado About Nothing, 946 – The Amazing Story of Adolphus Tips (Shakespeare’s Globe), The Wind in the Willows (Vaudeville Theatre/ Duchess Theatre) and Beauty and The Beast (Royal Shakespeare Company). For film, his credits include Matthew Bourne’s Christmas and The Magic Flute. 

THE BUDDHA OF SUBURBIA  

Listings:

SWAN THEATRE

Waterside, Stratford-upon-Avon CV37 7LS

18 April – 1 June   

Tickets from £15, £10 Tickets for 14-25s available, supported by TikTok 

https://www.rsc.org.uk/the-buddha-of-suburbia/

York Theatre Royal – until Saturday 9th March 2024

Reviewed by Michelle Richardson

4****

Emma Rice and Wise Children’s new production is Blue Beard and is currently playing at York Theatre Royal. I must admit that going into the show that I had no real idea what I was going to watch, if it is a show I have not heard of before I like going in “blind”, so I have no expectations to cloud my judgement.

Loosely based on a 17th century folktale from France about a nobleman who has been married six times, but they have all vanished, and he is on the hunt for his next “victim”. Here we see the story unfold in more recent times.

This show features three seemingly separate subplots. A group of nuns, from the Convent of the Three F’s, “Fearful, F**ked and Furious”. Dressed in checkered smocks and wearing white rimmed sunglasses, led by a blue bearded Mother Superior (Katy Owen). Her role is integral to the show as the narrator.

Lost Brother (Adam Mirsky), his plea for help in searching for his Lost Sister (Mirabelle Gremaud).

Finally, Treasure (Patrycja Kujawska) and her daughters Lucky (Robyn Sinclair) and Trouble (Stephanie Huckley), who are united in their grief for a dear husband and father.

The sisters encounter an enigmatic magician, Blue Beard (Tristan Sturrock), who sweeps them off their feet. Lucky, after being sawn in half, and Blue Beard unexpectedly losing his latest assistant/wife, is seduced and agrees to marry him. Her family are initially hesitant with this union but are swayed by his wealth. All is going smoothly until Blue Beard has to go away, entrusting Lucky with all the keys, strict instructions that one of the rooms is off limits. Deciding to have a party, what could go wrong? The pull of the forbidden room is just too strong.

The second half gets so much darker. Lucky discovers Blue Beard’s murderous secret, a room full of all the bloodied bodies of his former wives. With the help of her mother and sister, she manages to avoid her certain fate.

The whole cast of actor-musicians are truly versatile and exceptionally talented. Showcasing a range of theatre skills, from physical theatre to ballet and musicianship, there is no let up. With original music by Stu Barker and arranged by Ian Ross.

During the interval I still had no idea how the three subplots would all come together, but it all becomes apparent in the powerful climax. We not only find out the horrifying truth about what happened to Lost Sister, but we learn who Mother Superior really is.

For a lot of the time, especially the first half, the show is bonkers. It is complex and can be confusing. It makes you laugh, but all the while there is a darkness, with the final climax, the true horror really is exposed. We were stunned into silence, with only sniffles being heard amongst the stunned audience.

This show has a powerful message with violence against women still occurring every day and we need to take a stand. The really sad part is that unfortunately, that though many victims of domestic violence and predatory killings are women, men can also be targeted and should not be forgotten.

A somewhat thoughtful piece of theatre, somewhat confusing at times, with a strong powerful message. A definite one to watch.

Stage Door Theatre – until 13th April 2024

Reviewed by Phil Brown

4****

This interesting and slightly unconventional show also launches the Stage Door Theatre as a new and intimate venue for live performance in Covent Garden.

Located above the Prince of Wales pub on Drury Lane and self described as the first (and only) pop up pub theatre in the West End, it’s a functioning bar and dining area that generates a cosy and buzzy atmosphere without any of the odd spatial quirks often encountered in such “upstairs” spaces.  

‘Marry Me a Little’ is not new, just not well known.  The inaugural show was conceived and developed by Craig Lucas and Norman Rene and first performed off-Broadway in 1980.  It’s essentially an anthology of some 20 Stephen Sondheim songs – mainly rejects from several hit shows – cleverly sequenced to create a somewhat bittersweet 60 minute narrative about love and relationships.  Aside from the limited programme notes which I’m pleased to say contain a comprehensive song list and the associated shows, there is no real explanation of what you are about to see.   As the performance is entirely song based, without any spoken word at all, a brief scene setting in the programme would probably help prime audiences on what to expect.   Supposedly set in New York, the song cycle aims to examine the feelings and reflections of two newly single and lonely people on the look out for love.  

This is clearly a well rehearsed performance that flows seamlessly, feels intense and works smoothly on stage (Director – Robert McWhir).  The casting and acting – Shelley Rivers and Markus Sodergren is excellent.  The song selection works well although Sondheim can be pretty wordy and his lyrics difficult to pick out during up-tempo numbers.  The simple yet convincing stage set (Designer – David Shields) resembles a typical singleton’s studio apartment.  In fact, the one set represents two separate apartments – one for the apparently newly single women (Shelley Rivers) and one for the newly single, world weary man (Markus Sodergren).  The physical action, as both inhabit and drift around the same constrained set, is thoughtfully imagined and nicely choreographed, conveying each of their shifting moods and physical separation well, although both join in on most songs.  Maybe a little too much pouring of drinks, although that’s credible given the context.

Musically, accompaniment on electric keyboard was executed impeccably (Musical director – Aaron Clingham), although the same instrumentation does feel a touch relentless across the whole show.  Given they appear to be non amplified,  the vocals were well controlled, skilfully rendered and blended sweetly.  The American accents seemed to tail off during the performance and there were some very minor inconsistencies – the odd wordy phrase got lost and vocal light and shade was slightly overdone on occasion.  Possibly a function of singing complex material unmiked.

For all the sterling work done by the performance team, the appeal of this show is fundamentally determined by the song content.  Sondheim may be a successful and highly revered songwriter, but for me, despite being superbly crafted, these songs simply don’t sizzle brightly or often enough to elevate this to a five star event.  And they certainly don’t ignite instantly – they need time to fully appreciate.  Yes, they’re lyrically very clever, sharply observed, and melodically tasteful, but there is a lack of obvious hooks.  Some of the more memorable songs of the evening are “That Boy can Foxtrot” (brilliantly performed by Shelley Rivers), “Bring on the Girls”, “Ah but Underneath” (wonderfully performed by Markus Sodergren), “Marry Me a Little”, “There won’t be Trumpets”, “Rainbows”, and “Take me to the World”

Congratulations to the Stage Door Theatre for opening their doors to the public with such a polished and sophisticated production.  “Marry Me a Little“ is a brave but exciting choice, well suited to the intimate nature of the venue.  It kick starts the Stage Door Theatre’s new venture with a stylish flourish.  

Hull New Theatre – until 2nd March 2024

Reviewed by Dawn Bennett

5*****

Last night at Hull New Theatre we were treated to a masterclass in dance. Dance Consortium have brought a diverse range of productions with different of dance styles to Hull in the last few years and last night we were treated to the São Paulo Dance Company, who are on their UK and Ireland Premiere Tour, they are company from Brazil who blend classical ballet and contemporary dance with the styles of their homeland. There is only really one word to describe what we saw on stage and that is stunning!

We watched 3 fabulous dances over the course of the night.

Anthem (from 2019) with Choreography by Goyo Montero and Music by Owen Belton. Danced by 14 dancers, this piece “reflects on life cycles and collective identities” and it was “inspired by songs that become hymns -anthems- for an individual, a group, a generation or a nation”. It was very atmospheric and powerful piece of theatre. The dancers were fluid with fabulous technique and the simple and effective costumes (Goyo Montero e Fábio Namatame) showed the dancers movement and lines.

Gnawa (from 2009) with Choreography by Nacho Duato and Music by Hassan Hakmoun, Adam Rudolph, Juan Alberto Arteche, Javier Paxariño, Rabih Abou-Khalil, Velez, Kusur and Sarkissian. It is a “dance work under the spell of the hypnotic, ritualistic music of North Africa” This is also a very powerful piece of work. The music was hypnotic and the dancers moved with such grace and timing. It was wonderful to watch.

Agora (from 2019) with Choreography by Cassi Abranches and Music by Sebastian Piracés. This piece explored “time and rhythm” the choreographer “sculpts the movement of the percussive beats and bass groves” of the music. This was my favourite piece of the night. The beginning with it rhythmical beat and then moving into more fluid music was mesmerising and this really set the atmosphere for the piece.

We had a question and answers session after the show, compared by Darren Lethem, with Artistic Director Inês Bogéa and company members Alex Akapohi and Thamiris Prata which was very informative and interesting.

All the dancers were magnificent and so talented and I would absolutely recommend this production by the São Paulo Dance Company. Dance Consortium should be commended for bringing such thought provoking shows to the UK and Ireland…I loved it!

Gillian Lynne Theatre, London – until 3 August 2024

Reviewed by Emily Smith

4****

Standing at the Sky’s Edge tells the story of the Park Hill Estate in Sheffield through the music of Richard Hawley, of Longpigs and Pulp fame, and a cleverly written story by Chris Bush. The show focuses on three families who each arrive in Park Hill at different stages of life, different political times, and different life cycles of the infamous estate. As a British musical, it provides a raw insight into the lives of those living in the north of the country through the changing political times and the challenges that arose from this. There is little more that can be said without ruining the story for those who will grab the opportunity to get tickets!

You may be thinking… how can you fit a large, concrete, quite brutalist, housing estate into a West End theatre in London? Well, Ben Stones manages it, and magnificently so. The set design is simplistic in its monotone colour palette but is brought to life by the characters that inhabit it, despite the timeline spanning over 60 years. The movement of the actors around the set and across the stage is well-choreographed by Lynne Page, filling all the corners and balconies of the large space.

The incredible musicians, take us from Richard Hawley’s edgy-rocky numbers, through to country/folk, and then back to beautiful orchestral pieces. During the catchy number ‘I’m Looking for Someone to Find Me’, I did wonder if I had witnessed La La Land coming to life in the West End as it brought the same energy and light as the opening number of the film. Likewise, one of my favourite numbers of the night was ‘Tonight the Streets Are Ours’ delivered by Baker Mukasa (George), which felt like stepping into a joyous episode of Call The Midwife from the 1960s.

The standout performances for me came from Laura Pitt-Pulford (Poppy) and Lauryn Redding (Nikki) who delivered incredible vocals, with a particular mention to Lauryn’s version of ‘Open Up Your Door’ which gave me goosebumps with her unique tone and sensitivity of the performance. Lauryn also brought some much-needed northern humour to the stage with her comedic deliveries, in this otherwise quite sombre show. Another mention should be given to Mel Lowe (Connie) who takes the role of narrator through most of the performance before being given time to showcase her beautiful vocals towards the end.

For me, the mixture of hand-held microphones and traditionally wired microphones was slightly confusing, at times giving a ‘live concert’ feel, before returning to ‘traditional’ musical style. It was also unclear whether the songs reflected a progression of the story, or not, but nevertheless they were beautifully delivered throughout.

I have never seen a faster standing ovation than when the final number concluded. The roar of the crowd was unanimous.

I am left somewhat speechless by this production; being a huge fan of London’s musical theatre scene, this show is unlike anything I’ve seen before. Whilst there are musical numbers, I’d be hard pushed to describe it as a true ‘musical’ in the sense that many would recognise. In Richard Hawley’s own words “I was definitely very keen for it to not be a happy la-la-la sort of musical – it was always going to be a bit dark” and this is very apparent. It is a piece of theatrical art, that has to be seen to be understood.

This incredibly talented cast and creative truly deserve the rave reviews they are receiving, and I hope this production continues to move all those who go to see it.