Phoenix Dance Theatre’s Belonging: Loss, Legacy, Love, part of the Spring Tour, opens at the Leeds Playhouse under the artistic direction of Marcus J Willis. The triple bill primarily focuses on human experiences and nuances connecting to loss, legacy and love. The company is renowned for its contemporary dance and its repertoire that represent the unique and diverse communities today.
The programme opens with Dane Hurst’s Requiem (Excerpts), based on Mozart’s composition, which is taken from the production, Requiem: Journeys of the Soul which was co-produced with Opera North and premiered last year for Leeds 2023: Year of Culture. This production poignantly and sublimely explores the emotional response to grieving and loss particularly during the COVID-19 Pandemic and its massive impact worldwide.
Miguel Altunaga’s Cloudburst, musically composed by David Preston, follows and focuses on legacy. Cloudburst is part of a dance film for its first ever digital programme in 2021. This was in response to the COVID-19 pandemic where the theatres were closed but dance and performance carries on. Cloudburst is influentially set to Yoruba and Afro-Cuban ancestry, culture, rituals and traditions. Homage is paid to those who lost their lives during the pandemic and how their legacies still live on societally, mythologically, and spiritually.
The third piece of work is Willis’ Terms of Agreement which primarily examines love and what defines true love. The work explores how one agrees and negotiates the terms of love through an emotional kaleidoscope. A wide range of different scenes and scenarios, individually and collectively, are projected in response to the definition of love and its truth. The performance is set to Tomos O’Sullivan’s writing composition and a wide range of music by popular artists is played to reflect the ambiences and moods.
The company of dancers responds emotionally and evocatively to all the pieces of work that have been presented on stage. The dynamic, emotional and intricate interpretations are the responses to the human experiences and how they resonate universally today. Under the choreographic direction of Willis, the performances of the works in the programme are very well put together which constitutes an excellent evening of dance.
Curve Theatre Leicester – until 24th February 2024
Reviewed by Amarjeet Singh
3***
I was lucky enough to be able to catch Nikolai Fosters rendition of Hanif Kureishi’s iconic and ground-breaking screenplay which was brought to Curve in 2019, and was blown away by it. Nicole Behan’s interpretation of My Beautiful Laundrette unfortunately did not have the same impact. Set in South London during the Thatcher years, it’s a gritty tale of forbidden love between Omar and Johnny, divided by colour, culture, class, crime, and crisis, can they find a way to connect despite these barriers.
Kureishi’s writing is poetic, hard hitting and is presented against original music composed by the Pet Shop Boys’ along with additional music from the 80’s, but the balance of this is off, in this production because the space was quite claustrophobic. The set was crammed full of various pieces, so the scene changes were fast and choppy. There was not enough time to appreciate the music and the ‘down time’, absorbing stillness and movement. There was not enough time to fully absorb the end of the last scene, the music, the moment and then move into another.
Hareet Deol was excellent as Salim, smarmy, sleazy and thoroughly unlikable. Kammy Darweish played Uncle Nasser with aplomb, booming boisterously until his luck runs out. Gordon Warnecke plays the role of Papa with pathos; all were reprising previous roles with relish. Lucca Chadwick-Patel’s portrayal of Omar lacked authenticity; word perfect I struggled to understand where his emotions lay in relation to his characters journey. Sam Mitchell played Johnny to perfection, every nuance and facial expression was spot on.
My Beautiful Laundrette is an important and relevant piece of theatre. It can and will endure. There were some stand out moments in this production. The fight scenes were impressive and there were some tender moments, but they were fleeting for what is essentially a complex love story
Nottingham Theatre Royal – until Saturday 24 February 2024
Reviewed by Amy V Gathercole
4****
Fresh from the West End on its first nationwide tour, following a nomination for Best New Musical at the 2022 Olivier Awards, Drifters Girl is the current show to see.
Drifters Girl is a delight for all the senses. It tells the (I suspect not well-known) story of Faye Treadwell (the excellent Carly Mercedes Dyer), who was the legendary tenacious manager of The Drifters. The iconic part was played by Beverley Knight in the original show and Carly Mercedes Dyer’s takes on the role on this tour, her vocals are some of the best I’ve ever heard! She’s sassy and a woman with a lot of gumption, who fought for what she felt was right.
Faye was a no-nonsense woman who broke a lot of rules in a male-dominated world and industry. In a business inhabited by men, their opinions and their whims, she made history as the manager of the iconic band, despite personal troubles and legal battles.
The Drifters are a band that had many hits across three decades but more interestingly a revolving door of members. Some of the reasons for band members leaving and dealing with the successes are tackled in the show with tact and respect, which is great to see, as it’s a tough balance to strike.
The four male co-stars, Miles Anthony Daley, Tarik Frimpong, Daniel Haswell and Ashford Campbell are all brilliant. They seamlessly and constantly switch between being in the band and crooning hits including Saturday Night At The Movies, Save The Last Dance For Me and the unforgettable Stand By Me, among many more memorable songs.
The four of them expertly play different incarnations of The Drifters throughout the decades. They also capture the personalities and conflicts of the group members, who had to deal with fame, racism, and personal issues.
The talented actors take on a more demanding and challenging role than traditionally, as they not only play multiple members of the band, but they also play every other male (and sometimes female) character besides Faye and her daughter too.
The show is full of comic interludes as one of the lads pops up as a drinks girl or hotel receptionist and it’s great to see a harmony struck between the tragedies and the memories – as Faye takes the audience through her story and her truth.
The costumes are great, depicting different styles as the years advance, so do the fashion. Fay Fullerton designed them and they are colourful and authentic, reflecting the changing styles of the eras with style.
The staging and set design by Anthony Ward is minimal but effective, to allow for all the quick changes of location, decade and setting. The lighting is cleverly used and the set is largely created through the clever art of projections, sometimes a recording studio, sometimes a talk show and other times backstage.
The choreography by Karen Bruce is lively and fun, incorporating elements of doo-wop, soul, and disco and with the music it will keep your toes tapping through this fast-paced, hit-filled delight of a show!
“Keep your toes tapping through this fast paced, hit-filled delight of a show!”
Ever wondered why there are 4 Seasons in a year? Why Spring and Summer brings harvest and warmth, whereas Autumn and Winter are cold and bleak? This is a tale from long ago. A Love Story! A Tragedy! This Greek Myth has been told for thousands of Years and The Gods have returned to London Town to tell it all once again.
King Hades, the god of the underworld, fell in love with the beautiful Persephone. For half of the year, she walked above, providing food, warmth, and peace to those around her. She spends the other half of the year in the underworld, transforming the above into a cold and baron existence. Intertwined with these two gods is the tragic love story of Orpheus and Eurydice. A love so strong that he would walk through hell to get her back. Through song, he persuades Hades to let him leave with Eurydice, but only on King Hades terms. They could not walk side by side, hand in hand as planned, but one in front and one behind. Will they make it out of the underworld together, or will Eurydice be condemned in hell forever?
Anais Mitchell’s Tony® and Grammy® Award-winning musical HadesTown has returned to London following a phenomenal run-on Broadway. Mitchell’s song writing is inspired, and she consistently produces hit songs. This is a sung-through musical with little to no dialogue and an extensive 33-song soundtrack. Mixing beautiful story-telling lyrics with a hint of jazz and blues, results in a musical score unlike any other.
The set design by Rachel Hauck and lighting by Bradly King are unlike anything I’ve ever seen. Incorporating the dark wooden tones of a New Orleans jazz bar before plunging (literally) into the deepest depths of an industrial hell. Bradly King’s lighting design is inspired, producing visual effects unseen in today’s West End. This combination, combined with costumes by Designer Michael Krass, results in an out-of-this-world stage production that will leave audiences speechless.
The casting for this new production is exceptional. Melanie La Barrie (&Juliet, Mary Poppins) plays Hermes, a formidable figure and story teller. From the moment she walks on stage, the audience is captivated by her flair, charm, and extraordinary voice. Gloria Onitiri (Taming of the Shrew-Shakespeare Globe) plays Persephone to perfection and commands the stage like no other. King Hades, played by Zachary James (Sweeney Todd, Addams Family Broadway), is both intimidating, and hypnotic. His height towers over the rest of the cast, giving him the ideal God-like presence on stage. The rest of the cast is equally impressive. Donal Finn (Netflix’s The Witcher) and Grace Hodgett Young (Sunset Boulevard) portray the endearing Orpheus and Eurydice. Donal, a talented guitarist, performs this beautifully onstage throughout. The Fates will remain in your memory long after you see them. They are the voice in the back of your head that brings doubt, fear, and is constantly trying to bring you down. Bella Brown, Madeline Charlemagne, and Allie Daniel command the stage with their wit, bringing these menacing voices to life. The chorus and band also take centre stage, with each receiving their own shoutouts throughout the performance. The 7-piece band transformed the Lyric Theatre into a downtown New Orleans Jazz bar with their pitch-perfect sound.
I could talk about Hades Town for days. Hades Town will take you on a journey through love, sacrifice, doubt, Greek mythology, and the underworld itself. It is unlike anything you will have ever seen before, and there is nothing like it on the West End. So, jump on this train and head deep into the underground of HadesTown. This ride is something not to be missed!
Adam Blanshay Productions in partnership with NHS Charities Together West End Gala at the Adelphi Theatre to celebrate over 75 years of the NHS with all-star cast With All Our Hearts Tuesday 9th April 2024, 7.30pm Adelphi Theatre, Strand, London, WC2R 0NS
A West End Gala at the Adelphi Theatre will celebrate over 75 years of the NHS – a major milestone reached by the health service in 2023. With All Our Hearts will commemorate this significant anniversary with an all-star cast this April. With All Our Hearts is presented by Adam Blanshay Productions in partnership with NHS Charities Together, and is kindly sponsored by Starbucks. This exciting Gala is directed by stage and TV legend Arlene Phillips with Lily Dyble. 100% of the proceeds will be donated directly to NHS Charities Together, the national charity caring for the NHS.
Strictly fantastic host Oti Mabuse (Strictly Come Dancing, BBC; Dancing on Ice, ITV) and Dr Ranj (BBC Morning Live, Strictly Come Dancing, BBC) will introduce stars of the West End including Marisha Wallace (Oklahoma!, Young Vic; Hairspray, London Coliseum), fresh off a show-stealing turn as Miss Adelaide in Guys & Dolls. Award-winning stage legend Kerry Ellis (Anything Goes, UK Tour; Wicked, Apollo Victoria Theatre) joins the cast along with Tom Francis (Sunset Boulevard, Savoy Theatre; & Juliet, Shaftesbury Theatre) and JodieSteele (Rehab, Neon 194; Heathers, Theatre Royal Haymarket). Actress Joni Ayton-Kent (The Prince, Southwark Playhouse; A Christmas Carol: A Ghost Story, BBC); bionic arm-user and musical star Gracie McGonigal (The Little Big Things, @sohoplace; The Crucible, National Theatre); Ahmed Hamad (Standing At The Sky’s Edge, National Theatre; The Colour Purple, Birmingham Hippodrome); Preeya Kalidas (Eastenders, BBC; Everybody’s Talking About Jamie, Lyceum Theatre) and Trevor Dion Nicholas (Disney’s Aladdin, Dominion Theatre; Bonnie & Clyde, Theatre Royal Drury Lane) will also take to the stage to celebrate the NHS.
With All Our Hearts is directed and staged by Dame Arlene Phillips, alongside her associate Lily Dyble (Guys & Dolls, The Bridge Theatre). Rob Madge (My Son’s a Queer) will be writing the show, as well as performing themselves. The crème de la crème West End cast will be joined by the NHS Choir from Lewisham and Greenwich NHS Trust, whose hits include Christmas Number 1 A Bridge Over You; With a Little Help from My Friends; and Holy, with Justin Bieber, which wasin the Spotify and iTunes Top 5. In November 2023, the NHS Choir sang at a reception for international nurses and midwives at Buckingham Palace, hosted by King Charles on his 75th birthday.
Adam Blanshay comments, In recent years, the NHS has truly been a force to be reckoned with. It has done so much for all of us, and is an institution that we should all be proud of. It has battled through the pandemic and beyond, touching each and every single one of our lives, so I cannot say how truly excited I am to be creating this event in celebration of their historic 75th Anniversary. With All Our Hearts is our gesture, as a theatre community, to offer our skills and our talents to help support the minds and souls of others and express our gratitude to those who have helped us when we have needed it most. In support of NHS Charities Together, with our participating performers, we are committed to staging this night of new work and old favourites, in what promises to be an uplifting and inspirational evening of fun, music, laughter and love. I hope you will consider joining us in building something truly unique in helping to support this fantastic organisation; a major coming together of the West End and the NHS, a place where we will always find help if we need it.
Arlene Phillips says, I am thrilled to be directing with Lily Dyble the concert to fundraise and support NHS Charities Together which supports NHS charities across the UK. With an evening ofremarkable musical talent alongside a series of exceptional stories, With All Our Hearts celebrates the amazing work of NHS Charities Together. Matt Brind our Musical Director is bringing exciting new arrangements to familiar songs, brought to life by thrilling casting lead by Kerry Ellis and Marisha Wallace. The creative team are legendary in the theatre world and all I can say is, don’t miss this once-in-a-lifetime chance.
Ellie Orton OBE, Chief Executive at NHS Charities Together comments, We are so looking forward to this wonderful event to celebrate the incredible people working in the NHS. With the scale of the challenges facing health services, the extra support that we and NHS charities provide is more important than ever. All funds raised from this inspirational gala will go towards our vital work supporting NHS staff, patients and communities across the UK, helping to provide the best possible healthcare for us all.
This exciting West End Gala in celebration of the NHS was co-conceived by Adam Blanshay and Musical Supervisor Matthew Brind. Adam Blanshay Productions and NHS Charities Together are committed to making the gala affordable for all with tickets starting at £16. All ticket sales and donations will help NHS Charities Together continue their vital work supporting NHS staff, patients, volunteers and communities around the UK.
ADDS SOME EXTRA SPARKLE FOR A SPECIAL PERFORMANCE TO MARK LONDON PRIDE WEEKEND
Disney Theatrical Group today announces a special performance of Frozen the Musical to kick off Pride Weekend in the capital. Gather your favourite people, wear your best Elsa blues, and get ready to really Let It Go at a celebratory performance packed with surprises beginning at 8pm on Friday 28 June at Theatre Royal Drury Lane.
Throughout the week, Frozen will host a bucket collection for Diversity Role Models (https://www.diversityrolemodels.org/about-us) whose mission is to end LGBTQ+ bullying by harnessing the power of storytelling to build empathy and celebrate difference. Disney Theatrical Group is proud to continue this long-standing relationship since it began in 2021.
With music and lyrics by Kristen Anderson-Lopez and Robert Lopez, book by Jennifer Lee, and directed by Michael Grandage, the production started its run at the newly refurbished Theatre Royal Drury Lane in August 2021, opening to rave reviews. It received 7 WhatsOnStage Awards – the most of any production – and 4 Olivier Award nominations, including Best New Musical. The sets and costumes by Christopher Oram were conceived on an epic scale, with 154 costumes – including the legendary ice dress with over 10,000 crystals, the ice palace set contains over 50,000 crystals, and the ice bridge at 65ft long and nearly 10ft high fills the Drury Lane stage.
Today, Thursday 22 February 2024, the first batch of shows that will be staged at the 2024 Edinburgh Festival Fringe have been revealed. All shows will be available to view on edfringe.com from 12:00 today.
The 276 shows span many genres of the Fringe programme, including cabaret and variety; children’s shows; comedy; dance, physical theatre and circus; music; musicals and opera; spoken word; and theatre. They will take place across 31 venues, with more shows to be revealed in the run-up to August.
It’s Fringe artists themselves who choose which date their show listing will go live on edfringe.com. For many, the reason to go live at this early stage in the year is to have a broader window in which to finance the show, sell tickets and promote their work.
This year, more than ever, the Fringe Society encourages audiences to start planning their Fringe experience as early as possible; to support the artists, venues, producers, promoters and all the participants of this world-renowned festival. It is a serious investment to put on a show at the Edinburgh Fringe and the only way that Fringe-makers can get a return is if audiences come out, see the shows and support the creatives who are the beating heart of this festival.
Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe Society, said: “It is always special to see the first batch of shows that will be performing at this year’s Edinburgh Festival Fringe. Those working across the Fringe have been preparing for this moment for months – laying the groundwork for artists to come to this year’s festival and the creative explosion that is August in Edinburgh. Being able to browse the first set of shows always adds an extra level of excitement. It’s a reminder that the 2024 Fringe is just around the corner, and it feels a lot more real for the whole Fringe community. I encourage audiences to support those performing at the Fringe this August by browsing shows and booking tickets as early as you can.
It’s no secret that the cost of putting on a Fringe show can be a barrier to attending, and our role is in supporting artists in every way that we can, whether that’s keeping registration fees affordable, sourcing low-cost accommodation, seeking out direct routes to funding, or simply providing advice and information. Our Artist Services team is on hand to offer advice around every aspect of putting on a show, so please do reach out to us.”
Below is a small representative sample of shows available to book from today. The full list of shows released today can be found at edfringe.com.
Cameron Young: The Scottish Magician (Gilded Balloon) offers ‘mind-bending illusions, captivating mind reading, and uproarious comedy’, while Ben Hart: HeX (Assembly) is a collection of Ben’s ‘most exciting material from the last decade alongside new ideas fresh from his laboratory, guaranteed to put a spell on you’.
Musicians Juliette Pochin and James Morgan promise ‘outlandish musical mashups (who knew Meatloaf worked with Mozart) and the entire history of Western music in just under four minutes’ in Music, Mayhem and a Mezzo at theSpaceUK. All-Stars Burlesque is a ‘celebration of bodies, tradition and inclusivity by award-winning, world-class artists and rising stars on the scene’ – it’s at Just the Tonic. At Laughing Horse, Stacey Clare and Gypsy Charms return with their adult Q&A session, Ask A Stripper: No Holes Barred.
Children’s shows
A Bee Story (Assembly) is ‘a uniquely Australian physical theatre show for children and families incorporating a kaleidoscope of circus, acrobatics, dance and live music’. Doktor Kaboom: Man of Science! returns to Pleasance with a combination of ‘astonishing live science experiments, stand-up comedy and lessons in empowerment’. The Amazing Bubble Man, Louis Pearl, is at Underbelly, ‘thrilling audiences… with the art, magic, science and fun of bubbles’.
All-New Crazy Puppet Magic Show at Frankenstein Pub promises ‘crazy puppets, lots of magic and audience participation – young kids and older ones alike will love it’. Fever Pitch Academy Showcase 2024 (theSpaceUK) is an Edinburgh Fringe debut, ‘featuring music from Charlie and the Chocolate Factory, SpongeBob, Legally Blonde, Grease and loads more’.
Comedy
Gilded Balloon hosts ‘the top three acts from the 2023 edition of So You Think You’re Funny?’ – Samira Banks, Christopher Donovan and Lizzie Norm – at their Best of So You Think You’re Funny? line-up show. ‘Transatlantic middle-aged Jewish atheist divorcee’ Leslie Gold brings A Chip Off the Gold Block (WIP) to Laughing Horse.
Canada’s Ajahnis Charley dies and ‘awakens at the gates of Gay Heaven’ where he faces ‘a mighty, flighty and unabashedly white-y God’ in Thots and Prayers (theSpaceUK). Kemah Bob brings their debut stand-up show, Miss Fortunate, to Pleasance. Character creation Frank Sanazi returns to the Fringe, once again ‘engaging in a spirited battle against the forces of political correctness’ in Frank Sanazi’s Mein Way (Le Monde).
At Greenside, Laura Rose will perform ‘an autobiographic comedic feast following stories from growing up on an Australian pineapple farm, misadventures abroad, Laura’s crazy family, and her forever loving husband’ in BUSHPIG. Polish-Cockney comedian Dickie Richards is at PBH’s Free Fringe with his show, Sexual Tyrannosaur 2024. Among the comedians representing Scotland at this year’s festival are Adele Birkmyre (Boteco de Brasil), Connor Burns (Just the Tonic), Jo Caulfield (The Stand Comedy Club), Kathleen Hughes (Gilded Balloon), Susie McCabe (Assembly) Raymond Mearns (Hootenannies) and Stuart Mitchell (Scottish Comedy Festival).
All of the above will be joined by some familiar famous faces at the Fringe: Jason Byrne, Jessie Cave, Rob Auton are at Assembly; Fern Brady is at the Edinburgh Playhouse; Jimeoin is at Just the Tonic; Catherine Bohart is at Monkey Barrel; Catherine Cohen, Chloe Petts and Rosie Jones are at Pleasance; and Geoff Norcott and Rhys Nicholson are at Underbelly.
Dance, physical theatre and circus
At theSpaceUK, ‘Hong Kong veteran community theatre company, Art Home, masquerade in masks and physical theatre to confuse the definitions of what is a human and who is a dog’ in Hound in the Light. Caller Ken Gourlay and his ceilidh band are hosting Ceilidhs (Scottish Dancing) at Royal College of Physicians, ‘an authentic Scottish experience in a historic building’. The Black Blues Brothers (Assembly) are returning to the Fringe ‘for the last time’, inviting audiences to join them for ‘the farewell season of this acrobatic celebration joining the energy of Africa with a R’n’B sound’.
Online, Displaced ‘explores contemporary challenges such as culture, place, race and imperialism’, while Odyssea ‘follows the epic journey of a curious sea traveller as she encounters flora and fauna in fantastical realms’ – both courtesy of C venues.
Music
At Novotel, Jazz at Lunchtime offers ‘jazz standards and melodic originals in a comfortable, intimate jazz club setting’ created by Ian Millar and Dominic Spencer. Memphis, Tennessee-born songwriter/singer/guitarist Andrea Carlson offers ‘a delicious evening of swing, jive, romance and occasional special guests’ at Andrea’s 21st-Century Speakeasy! (Argyle Cellar Bar). The Jazz Bar plays host to John Hunt Four O’Clock Afternoon Blues and Swing for his 12th year at the Fringe. Orchestra of Sound (Greenside) is ‘an electrifying one-man show seamlessly weaving unique inventive instruments, hundreds of sounds, and explosive original music into an unforgettable sonic and visual extravaganza’.
At St Giles’ Cathedral, South Australian cellist / songwriter William Jack performs ‘iconic songs (by AC/DC, Bob Dylan, Oasis and more) dismantled and reimagined for solo cello’ in This Old Cello Box. Marchmont St Giles Church is hosting Marchmont Music, a series of free afternoon concerts ‘from up-and-coming young musicians’. At Bannermans, Driven Serious play folk-rock from their new album Look On These Works, described by NARC Magazine as ‘an impressive experience’.
There are tributes to a host of popular artists across the Fringe, including (but not limited to) Johnny Cash, Neil Diamond, Elvis Presley and Roy Orbison (Frankenstein Pub); Lady Gaga, Adele and Joni Mitchell (Le Monde); Bruce Springsteen and the E Street Band, The Killers, Arctic Monkeys and Sam Fender (Liquid Room); plus Amy Winehouse, Celine Dion, Blondie, Dusty Springfield and many more at theSpaceUK.
‘Legendary 70s Tyneside folk-rock pioneers Lindisfarne present a classic five-piece line-up of long-time members fronted by founder-member Rod Clements’ at the Queen’s Hall. Edinburgh trio Curmudgeon play their Traditional Scottish Folk Music at artSpace@StMarks.
Musicals and opera
Created by Sarah Bishop, Somewhere (theSpaceUK) is ‘a brand-new fantasy musical with music and lyrics by internationally acclaimed indie-folk duo The Dunwells and other established Yorkshire singer-songwriters’. At Pleasance, Gwyneth Goes Skiing is ‘a story of love, betrayal and skiing – where you are the jury’.
Spoken word
‘The distilled 40-year career of an internationally renowned British Army doctor’ is ‘presented as a collection of original poems’ in Frontlines and Lifelines – An Army Doctor in Crisis and War (Forces @ The Fringe). Peter Barratt pays tribute to his great-grandmother in Alice Hawkins – Working-Class Suffragette at the Arthur Conan Doyle Centre.
Eileen Mahony performs a pair of thematically linked shows at Greenside, each musing on artefacts and memories from the past: Loft Clearance and Loft Luggage. Nikky Smedley, aka ‘LaaLaa (the yellow one)’, returns the theSpaceUk with Confessions of a Teletubby.
Online via C venues, Hiding Behind the Mask: Jesters, Jokers, and Clowns is ‘a rollercoaster through the joys and sorrows, comedies and tragedies of life’ with Professor Rosemary George.
Theatre
Written by Aksam Alyousef and performed by Amena Shehab, Hagar: War Mother (theSpaceUK) follows ‘one woman’s odyssey to escape Syria’s brutal war with her son, who should be having his first birthday party’. At Greenside, Purple Hat Theatre present A Time Traveller’s Life, ‘a Fringe show about the Fringe; a time-travelling odyssey through one woman’s joys, sorrows, triumphs and inability to learn from her mistakes’.
Sarah Cameron-West brings KAREN to Underbelly, ‘a powder keg of heartbreak and identity crisis which explodes in the ultimate office showdown’. ‘Familiar Chekhov themes of lost opportunity, failed love affairs, sibling rivalry and fear of a changing future are thrown into the blender with 21st-century characters and high comedy’ in Vanya and Sonia and Masha and Spike at St Ninian’s Hall.
At Assembly, Pali and Jay’s Ultimate Asian Wedding DJ Roadshow follows an ‘uncle and nephew DJing duo’ who ‘must successfully navigate their latest gig to save the company, their future aspirations, and ultimately, their relationship’. ‘Unstoppable 82-year-old Miriam Margolyes returns to the Fringe’ with Margolyes & Dickens: The Best Bits (Pleasance), ‘combining her infectious passion for Charles Dickens with her phenomenal versatility’.
Online, Theatre Ronin of Hong Kong ‘recreates folklore and contemporary emotional landscape’ in their Wuxia-themed production, Practice of Zen (C venues).
The Drayton Arms Theatre, London – until 2 March 2024
Reviewed by Chelsea Kania
4****
Before Meryl, before Cate and way before Zendaya, there was Sarah. Often hailed as “the first modern celebrity,” Sarah Bernhardt was a businesswoman, icon, artist and director on top of being the most famous actress of the 19th century. She played male roles, pushed social boundaries, and even moonlighted as a courtesan.
Which is why I was keen to dive into her complex world with Sarah Quand Même, both written and performed by Susie Lindeman, who is herself no stranger to bright lights. Lindeman’s credits include Oscar and Prix Europa award-winning films and West End productions. The play is directed by her fellow Aussie native, the London-based director Wayne Harrison, former Artistic Director of the Sydney Theatre Company.
Lindeman’s one-woman-show probes the public controversies, unapologetic eccentricities and thinly veiled vulnerabilities of Bernhardt’s character in cradle-to-grave fashion during an imagined backstage conversation with her granddaughter. The core of the show is her persistent individualism, underscored by her repeated catchphrase, “Quand Même,” meaning “Despite all!” But for all her tragedies, including the loss of her leg and a very public cancellation by polite society, Lindeman’s Bernhardt seems to be aware of the novelty of her wild existence. And in this way, the play’s format suits its message: life is just one big rehearsal.
The real highlight of the show is Lindeman’s commitment to occupying Bernhardt’s mind, body and spirit. It’s a convincing character study and a fun way to learn about someone somewhat lost to history; the audience can truly time travel. So although my preferred run time would have been 60 minutes and the intermittent French was sometimes hard to follow for a non-speaker, Lindeman was a real pleasure to absorb.
What has always fascinated me about Bernhardt is the way she juggled her keen awareness of the power of her own celebrity alongside her determination to be free. We get a taste of this juxtaposition in this performance, punctuated by the line, “Women are not allowed to be real.”
I’m still eagerly awaiting a miniseries, but in the meantime I thoroughly enjoyed this intimate and bravely acted jaunt into Sarah Bernhardt’s personality
Alphabetti Theatre Newcastle – until 9th March 2024
Reviewed by Sandra Little
3***
This latest offering from Alphabetti Theatre was written by Enda Walsh and first performed in Cork in 1996. This is the first time the play has been professionally produced in the North East of England; it has been directed by Ali Pritchard and produced by Gina Ruffin.
This one hour play takes place on the eve of the 17th birthday of two soulmates namely Pig (Ben Gettins) and Runt (Amy McAllister). The audience are taken through the events of this action packed evening and learn that these two young misfits were born in the same hospital within seconds of each other and over the years have developed a very close friendship involving several destructive and violent incidents. The two friends seem to inhabit a quite surreal world where they see themselves as invincible and beyond reproach. They refer to each other as “king and queen” and describe each other as, “the best pal in the whole world.” Superficially there would seem to be no consequences for the reckless actions of Pig and Runt however the ending of the play could be seen as the inevitable consequence!
The storyline is, to say the least, fast paced and passionate! Within an hour, themes of violence, drunkenness and sexual awakening are explored against a backdrop of clubbing around Pig and Runt’s hometown to celebrate their 17th birthday.
This production is recommended for age 16+ and Alphabetti Theatre make it clear that the play contains strong language and themes that some members of the audience may find distressing.
Although I found the strong Irish accent and fast delivery difficult to understand on occasions, I felt that the play was well received and I did overhear a member of the audience describe the performance as “superb” as they were leaving. Once again it would seem that this tiny theatre in Newcastle has produced a thought provoking piece of drama.
Ustinov Studio, Theatre Royal Bath Friday 22 March – Saturday 20 April 2024
Full casting is announced for the The Lover / The Collection, a compelling double bill of two works from one of the most influential British dramatists of the last century, Harold Pinter. The plays which go into rehearsal this week, will run at the Ustinov Studio, Theatre Royal Bath from 22 March to 20 April 2024.
As previously announced, David Morrissey (40-year screen and stage career has established his position as one of the leading figures of British acting thanks to roles on both sides of the Atlantic, including the original UK series of State of Play, The Walking Dead, Doctor Who and his recent role as the star of the Sky/Amazon Prime series, Britannia) will lead the cast. He will be joined by Mathew Horne (Gavin and Stacey and The Nan Movie, with stage credits including Noises Off at the Haymarket Theatre and The Homecoming at Theatre Royal Bath), Claudie Blakley (Lark Rise to Candleford and recently Father Brown with recent stage credits including Consent at Harold Pinter Theatre and Stories at the National Theatre), and Elliot Barnes-Worrell (The Killing Kind for Paramount+ and Small Island at National Theatre).
These two plays showcase Pinter’s unique and darkly comic perception of love, marriage and relationships. The Lover is a quirky, tense and intriguing glimpse at the private intricacies of modern marriage; The Collection, a comic play of suspense and sexual jealousy between two couples, sparked by an anonymous phonecall in the dead of night…
Director Lindsay Posner returns to the Ustinov Studio fresh from his widely acclaimed production of Who’s Afraid of Virginia Woolf? One of the UK’s most accomplished directors, his recent productions in Bath and for the West End include Noises Off, God of Carnage, Stone in his Pockets, She Stoops To Conquer and Hay Fever.
Peter McKintosh is the Set and Costume Desinger, Paul Pyant is the Lighting Designer, Gregory Clarke in the Sound Designer, Ed Lewis is the Composer, Ginny Shiller CDG is the Casting Director and George Jibson is the Associate Director.
