Charing Cross Theatre – until 13 January 2023

Reviewed by Claire Roderick

5*****

He’s Behind You! – the creative team behind the Above the Stag pantos – have hit the sweet spot again with Sleeping Beauty Takes A Prick. This wickedly funny filthfest is guaranteed to warm the wickedest of hearts with its silliness and energy.

In the tiny Eastern European country of Slutvia, evil Prince Camembert (Chris Lane) realises his path to the throne is blocked when his nephew Prince Arry is born. In short measure he murders the king and curses the infant prince with the traditional prick on the finger means death spell. Luckily Daisy the fairy (Jordan Stamatiadis) is on hand to tweak the curse – now Prince Arry will only die if, in his mother’s delicate terms, someone puts their sword in his scabbard before his 21st birthday. Of course, on the eve of this milestone birthday a fabulous and horny alien lands in Slutvia and the curse strikes – leaving Arry and his mother (don’t ask) asleep and hidden for 100 years while Camembert turns the country into the miserable pariah of Europe (and won’t let anyone represent Slutvia at Eurovision but himself). Arry and Queen Gertrude’s quest to rewrite Camembert’s version of history doesn’t go quite to plan, but this is after all a panto – so happy endings are inevitable.

Writers Jon Bradfield and Martin Hooper are masters of creating a perfect balance of nostalgic fun and filth, and do not let the audience down this year. There are gags set up so obviously you can see them from space (as there should be in a panto), brilliantly judged jokes about current affairs and some slick one liners that draw gasps before the audience erupts in laughter. Traditional elements are included with a sly wink, or subverted brilliantly (and judgementally by the imperious queen). Jon Bradfield’s songs allow the audience to take a breath between the onslaught of jokes and silly shenanigans and are performed wonderfully by the cast.

Director Andrew Beckett knows the assignment, and the show is a mix of chaotic stupidity and slickness, with David Shields’ fabulously garish and wobbly set and Sandy Lloyd and Robert Draper’s costume design drawing applause for Gertrude’s costumes. The finale at the races is a stunner.

Matthew Baldwin’s Queen Gertrude is a masterclass in damehood. Performing as if she is in a Shakespeare play and surrounded by idiotic minions, Gertrude is a fabulous creation – snooty, arch and utterly hilarious. Baldwin’s viciously funny “wooing” of audience members is a joy to behold as you squirm in second hand embarrassment for the lucky men involved. Chris Lane is wonderful as the camp and cruel villain, popping up everywhere with a glorious gloating nonchalance, while Jordan Stamatiadis is lots of fun as the coke snorting, maiden-chasing fairy godmother. Tom Mann is wide eyed and energetic as Arry and Myles Hart is weirdly wonderful as Zupp. Nikki Biddington and Matthew Gent are fantastic as the “commoner” love interests, expertly setting up the laughs for the insane royals they meet – who knew there was so much fun to be had with horse semen?

Frenetic, filthy and fabulous fun, this is the best adult panto in town.

Union Theatre – until 23 December 2023

Reviewed by Claire Roderick

4****

Tinderella – Two Big Balls, One Happy Ending is a riot of rude and raunchy fun. This adult panto has all the traditional ingredients – fairy tale plot, audience singalong, birthday shoutouts and the cast singing “If I were not in pantomime…” – immersed in a cesspit of fabulously filthy jokes. Allowing the audience to decide what Buttons calls them is a brave move after pre-show drinks – we settled on the demurer option of “slags” on press night.

Writers Leonard Hatter and Pedro El Toro don’t deviate far from the traditional tale of Cinderella, with poor Tinderella (Laura Mead) doing all the work at Hard On Hall. (Dad has buggared off to Benidorm and her two stepsisters Chlamydia (Edward Denby) and Clitoria (Alan Kelly) take all the money she makes on Only Fans.) Buttons (Joshua David) loves Tinderella, but she is oblivious, and goes dogging on Clapham Common whenever she needs to go out and get wood. When Prince Charming (Lauren Bimson) throws one of his legendary balls – he has the biggest balls in the land – Fairy G (Gabriel Mokake) tries to help Tinderella meet the prince. Maleficent (Monty Camisa-Bundy) has other ideas – wanting to set Tinderella up with her ginger prince and use Tinderella’s social media savvy to make Maleficent and the ginger prince relevant again.

It’s all shambolically silly and the jokes are fired off at breakneck speed by the game cast. Kelly and Denby are hilarious as the ugly sisters, and their “seduction” of men in the front row is rib-ticklingly terrifying. Mokake and Camisa-Bundy are gloriously OTT as the good and evil fairies and Joshua is a hoot as Buttons in an energetic performance. Mead and Brimson are wonderful as the fairytale couple, with Brimson’s thighslappingly louche Charming dropping double entendres with every breath and Mead’s Tinderella the only sane character onstage, brilliantly displaying disbelief and confusion as the madness unfolds around her.

Director Robert McWhir keeps things moving along at a brisk pace, with no chance for the audience to lose interest as the plot gallops along after Tinderella leaves a more personal item than a shoe on the palace steps, leading to a very untraditional climax as Charming tries to find the perfect fit.

You’ll laugh, you’ll sing, you’ll squirm, and you will try to hide as the ugly sisters come close – a brilliantly bawdy night out for those lucky enough to get tickets before the run sold out.

Alexandra Palace – until 7th January 2024

Reviewed by Fiona Leyman

2**

“Marley was dead to begin with”.

A Christmas Carol is one of the most iconic Christmas tales ever written. A story about a man’s miserable existence and hatred of Christmas, and his redemption and love for those around him. This story has been adapted in more ways than I can count, and we can all agree that we’ve seen it in some form or another, whether on screen, on stage, or in a book. Michael Caine in A Muppets Christmas Carol was my first introduction to this story as a child. This has and always will be my favourite Christmas story of all time. This is the 3rd time this week alone that I have seen this tale been told on stage. Screen adaptations range from Bill Murray’s 80s classic Scrooged to Alastair Sim’s in the 1951 feature film Scrooge. All memorable, all unique, all masterpieces. Can Mark Gatiss’ adaptation stand up to these greats?

There is no more beautiful setting for this ghost story. Alexandra Palace, which was constructed in 1875, is a sight to behold in the North London borough of Haringey. A structure that towers over the capital and retains its original interior design. The broken walls, cracked bricks, and exposed ornate ceilings capture the essence of this Victorian tale.

Illusion Designer John Bulleid creates some eye-catching effects throughout the theatre. From ghosts appearing on the walls to apparitions on door knockers, there is something for everyone. This was a unique feature that I had never witnessed on stage before. The clever lighting and staging transported the audience to Victorian London. Large filing cabinets were used to create the iconic Scrooge & Marley counting house, as well as his dark and dingy bed chambers. Each easily transitioning to the various elements of this story.

Sadly, this adaptation fell flat after these special effects. Keith Allen, who is better known for his film and tv roles, played Ebenezer Scrooge. Allen is undeniably talented, but his portrayal of Ebenezer Scrooge left an unpleasant taste in my mouth. Unfortunately, his acting was as wooden as the stage he walked on, and audiences struggled to connect with his character.

The story felt rushed and disorganised. Additionally, there was some confusion as to why certain actors were playing some of the story’s more iconic roles. There are some very talented child actors on this stage, so the casting of Ryan Weston as Tiny Tim baffles me. Don’t get me wrong: Ryan is gifted, but this pivotal role in the story should have been played differently. Jokes were met with awkward, forced laughter from the audience and failed to hit the mark.

As the Narrator, Geoffrey Beevers (Dr Who, Miss Potter, Hamlet) is an absolute delight. A seasoned actor of over 50 years, his stage presence is something to be admired, and Mark Gatiss’ twist at the end with his character was an unexpected surprise.

This Charles Dickens 1843 story is a classic, a masterpiece, and a tale that has and will stand the test of time. Unfortunately, this cannot be said for this version of the story. “Bah Humbug” is all I have to say about this adaptation, which regrettably only receives 2 Stars.

MORE MRS O!

‘Sharon Osbourne – CUT THE CRAP’ adds extra West End dates due to overwhelming demand

Extra performances announced due to overwhelming demand!
Sharon Osbourne CUT THE CRAP!
Live and uncensored on stage

Journalist, author and TV presenter Jane Moore will interview Sharon on stage

Joining Sharon on stage at each performance   will also be surprise VIP guests from her glittering career

extra shows
Fortune Theatre, West End
Sunday 28 January
at 3pm & 6pm

It is also announced today that journalist, author and TV presenter Jane Moore, best known as a columnist for The Sun newspaper and as a panellist and anchor on the ITV chat show Loose Women, will interview Sharon on stage.

Joining Sharon on stage at each performance  will also be surprise VIP guests from her glittering career.

For over two decades, Sharon Osbourne has been a force to be reckoned with on our TV screens. Both on and off camera she’s had to battle the scrutiny that comes with life in the limelight – and has never been a stranger to controversy.

Now she makes the leap to the West End stage  – live and unleashed – in Sharon Osbourne  – Cut The Crap!  

Sharon promises to reveal all about some of the hardest years of her eventful life – from the anguish of a broken marriage and heavy metal icon husband Ozzy’s infidelities to the constant spectre of drug abuse in her family, the loss of friends, betrayal by colleagues, and her ongoing battles with mental health issues.

She says: “Extra shows added  – how wonderful! I can’t wait to see you all the theatre. It’s going to be very interesting – my show in my own words. Talking a lot! Hope to see you there.”

A  huge TV star on both sides of the Atlantic from more than 20 years, Sharon Osbourne was a much loved judge and mentor on ITV’s ‘The X Factor’ from its first series in 2004. On the 10th series her act Sam Bailey was the winner, marking Sharon’s first victory as a mentor.

Sharon, her heavy metal icon husband Ozzy and their kids  first burst onto our screens in 2002 in MTV’s ground-breaking fly-on-the-wall reality show, ‘The Osbournes’, which followed the family’s crazy life in Beverly Hills.

In 2007 she joined the judging panel on the second season of America’s Got Talent, along with Piers Morgan and David Hasselhoff.

Her first autobiography, ‘Extreme’ was published in October 2005. It went to Number 1 on the Sunday Times Bestseller List, where it remained for 15 weeks and sold over 621,000 copies in hardback, becoming the biggest-selling autobiography since British records began. It won Biography of the Year at the British Book Awards and went on to sell more than two million copies, becoming the most successful female autobiography ever.

Sharon is now back home and resident in the UK, and says it’s time to start a new chapter – and lay rest many of the demons of her past.

In this not-to-be-missed LIVE experience audience members will be able to question Sharon directly about her and her extraordinary life as she really ‘’Cuts The Crap’’ live on stage.

LISTINGS INFO

Thomas Hopkins & Guy Chapman
in association with Jacob Howe-Douglas,
Alex Decon & Julian Stoneman

present

Sharon Osbourne
CUT THE CRAP!

Sunday 21 January, 2024
at 3pm & 6pm

Sunday 28 January
at 3pm & 6pm

Fortune Theatre
Russell Street
London
WC2B 5HH

Tickets: £15 – £60

Online: ATGtickets.com
http://sharonosbournelive.co.uk/

Telephone Booking: 03330 096 690
‍Groups Bookings: 020 7206 1174‍
Access Bookings*: 0333 009 5399

Wednesday 24 January, 2024
at 7.30pm

The Alexandra, Birmingham
Suffolk Queensway,
Birmingham
West Midlands, B5 4DS

Tickets: £30 – £60

VIP Meet & Greet tickets:
£100

Online: ATGtickets.com
http://sharonosbournelive.co.uk/

MAYFLOWER THEATRE AND MAST MAYFLOWER STUDIOS ANNOUNCE A NEW PUBLIC AWARENESS CAMPAIGN FOCUSSING ON AUDIENCE BEHAVIOUR

SEE THE SHOW, DON’T BE THE SHOW – THERE’S NO EXCUSE FOR ABUSE

Southampton’s Mayflower Theatre and MAST Mayflower Studios are pleased to announce the launch of a brand-new public awareness campaign, aimed at encouraging kind and respectful audience behaviour towards theatre staff from patrons. A series of posters and digital screens around both venues will picture individual friendly and dedicated team members, with reminders of appropriate behaviour, with a personal touch.

Michael Ockwell, Chief Executive and Creative Director explains, “The idea for this new campaign came after observing reports of audience behaviour issues in other venues across the country – from customers causing show stops, assaulting Front of House staff and creating the need for police attendance. We asked for the views of our colleagues from across the organisation, including Front of House staff, artistic and executive leadership, and our marketing team, as it is important that our team feel safe in their job.

Whilst we are fortunate in Southampton to see very few of these issues on a regular basis, we decided to reinforce our dedication to our staff by reminding our customers of the friendly faces of our organisation, what they do, and most importantly, that they’re human and doing their best to ensure that everyone has the most enjoyable experience possible.”

Tasha Finch, Head of Customer Operations added, “We wanted to be proactive with this campaign knowing that customer behaviour not only within our industry, but in all walks of life is getting more and more challenging. It was important for both of our venues to involve our staff, so they are represented in this campaign – these are real people on our front line. We have had so much positive feedback from our teams with this initiative and the messaging in the campaign is to enjoy your visit to our venues but be considerate and kind to the people who are there to help you.”

In addition to the venue signage, patrons will receive pre-visit emails with further reminders, and the campaign will also feature prominently on the theatres’ websites.

FURTHER CASTING ANNOUNCED

LESLEY JOSEPH, LEMAR, CLIVE ROWE,

LIZZIE BEA, ALISON JIEAR,

AND CARL MULLANEY

ALONGSIDE

BEVERLEY KNIGHT

AND

RUTH JONES

TO STAR IN THE

AWARD-WINNING

PRODUCTION OF 

AT THE DOMINION THEATRE

FROM 15 MARCH – 8 JUNE 2024

The producers of the award-winning production of SISTER ACT THE MUSICAL are pleased to announce further casting for the run at the Dominion Theatre from 15 March to 8 June 2024.

Television and stage star Lesley Joseph returns to the role of Sister Mary Lazarus, with Brit Award-winning singer Lemar as Curtis Jackson, Olivier Award winner Clive Rowe returning to his Olivier-nominated role as Eddie Souther, West End favourite Lizzie Bea returning as Sister Mary Robert, Olivier Award nominee Alison Jiear as Sister Mary Patrick, and star of Regent Park’s La Cage aux Folles Carl Mullaney as Monsignor O’Hara. They join the previously announced Beverley Knight as Deloris Van Cartier and Ruth Jones as Mother Superior.

Lesley Joseph will play the role of Mother Superior at certain performances.

Producer Jamie Wilson said, “Following the huge success of Sister Act in 2022, we are absolutely thrilled to be returning to the West End, having hand-picked an amazing company bringing together comedy legends and award-winning talent. We can’t wait to rock the pews of the Dominion Theatre in 2024 with this hilarious production and fabulous cast!”

Lesley Joseph is best known for playing ‘Dorien Green’ in the hugely successful sitcom “Birds of a Feather” alongside Pauline Quirke and Linda Robson. They recorded over 100 episodes over a period of nine years. Lesley and her co-stars returned to our screens in “Birds of a Feather” in 2013. She has been seen on screen in ITV’s “Night and Day” and appeared on BBC One’s “Strictly Come Dancing”, Channel 4’s “Celebrity Coach Trip” alongside Linda Robson, and most recently BBC One’s “Celebrity MasterChef”. Lesley’s theatre credits include Miss Hannigan in Annie at the West End’s Victoria Palace and on national tour, and her Olivier Award nominated performance as Frau Blucher in Young Frankenstein. Her other touring credits include Calendar Girls and Hot Flush!.

Lemar is a double Brit Award and triple MOBO Award winning singer/songwriter, with seven Top 10 singles, and over two million album sales. He released his 7^th studio album, ‘Page In My Heart’ earlier this year. Most recently, Lemar was seen as Lord Smythe-Smith in the hit Netflix prequel spin off, Queen Charlotte: A Bridgerton Story. His other screen credits include the role of Danny Kilman in the Jaqueline Wilson adaptation of Little Darlings, and Grime Kids.

Clive Rowe was nominated for an Olivier Award in 2023 for the role of Eddie Souther in Sister Act. He won the Olivier award for Best Supporting Actor in a Musical for Guys and Dolls at The National Theatre and was also nominated for Best Supporting Performance in Carousel,also at The National Theatre. At 2009’s Oliviers, he was nominated for the Outstanding Achievement in an Affiliate Theatre award for Mother Goose at Hackney Empire. His many West End and touring credits include The Prince of Egypt at the Dominion Theatre, Ladykillers at the Gielgud Theatre, Chicagoat the Adelphi Theatre, Sweet Charityat the Donmar Warehouse, the UK tour of The Wind in The Willows and Me and My Girlat Chichester Festival Theatre.

Lizzie Bea’s London theatre credits include Martha Dunnstock in Heathers The Musical at The Other Palace, Tracy Turnblad in Hairspray at the London Coliseum and A Christmas Carol at the Dominion Theatre. Her other credits include Abigail in the World Premiere of Becoming Nancy at the Alliance Theatre, Atlanta and performing in the UK Tours of Kinky Boots, Fat Friends the Musical, Chicken Little, The Shakespeare Revue and The 3 Little Pigs.

Alison Jiear was nominated for an Olivier Award for her role in Jerry Springer: The Opera at the National Theatre. Her other theatre credits include Shoes at Sadler’s Wells, On The Town at the English National Opera and Theatre du Chatelet, Paris, Xanadu at the Southwark Playhouse, as well as Smokey Joes Café, The Hot Mikado, Grease and Les Misérables. As a vocalist Alison has taken her one-woman shows all over the world, released four solo albums, and is a regular soloist with the Royal Philharmonic Orchestra and the Halle Orchestra.

Carl Mullaney most recently starred as Albin in the Regent’s Park Open Air Theatre’s acclaimed production of La Cage aux Folles. Other theatre credits include Mary Sunshine in Chicago, Bamatabois in Les Misérables, Saucy Jack and the Space Vixens, Jest End, We Raise Our Hands in The Sanctuary and Bananaman The Musical. For the last 12 years Carl has been the host for Kinky Kabaret at Freedom Bar, Soho, the West End’s most popular late-night cabaret entertainment.

From 10 June 2024, the role of Deloris Van Cartier will be played by Number One best-selling artist and musical theatre star Alexandra Burke, with Lesley Joseph as Sister Mary Lazarus and Lizzie Bea as Sister Mary Robert. Further casting to be announced soon.

Based on the iconic movie, this sparkling tribute to the universal power of friendship, sisterhood and music tells the hilarious story of the disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a convent! Disguised as a nun and under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own. 

SISTER ACT has direction by Bill Buckhurst, choreography by Alistair David, Set and Costume Design by Morgan Large, Musical Direction by Neil MacDonald, Lighting Design by Tim Mitchell, Sound Design by Tom Marshall and Musical Supervision by Stephen Brooker. Casting is by Stuart Burt. 

SISTER ACT features original music by Tony® and 8-time Oscar® winner Alan Menken(Disney’s Aladdin, Enchanted), lyrics by Glenn Slater, book by Bill and Cheri Steinkellner with additional book material by Douglas Carter Beane. SISTER ACT is produced by Jamie Wilson, Kevin McCollum, Gavin Kalin, Front Row Productions, Evolution Productions, Tulchin Bartner Productions and Curve.

THEATRE ROYAL ANNOUNCES SPECTACULAR NEW SEASON

Showstopping West-End musicals, awe-inspiring dance performances, breathtaking page-to-stage adaptations, classic tales, brand-new delights, and an adult-only take on a Disney classic; there certainly are treats for all in the fun-packed, new season announced at Newcastle Theatre Royal!

Audiences will be transported back to 1960’s Baltimore, where Tracy Turnblad dreams of dancing her way onto national TV, when Hairspray visits Newcastle (Mon 11 – Sat 16 Nov 2024), but can she win equality, and Link Larkin’s heart, without denting her ‘do?

More hairspray will be needed as NOW That’s What I Call A Musical, arrives (Tue 8 – Sat 12 Oct 2024) on its first ever UK tour directed and choreographed by Craig Revel Horwood. Get ready for a fun-filled evening bursting with hits from Whitney Houston, Blondie, Tears For Fears, Spandau Ballet, Wham! and so many more.

It’s an adult night-out when Unfortunate (Tue 2 – Thu 4 Jul 2024) gives Ursula a chance to give her take on what really happened all those years ago under the sea. The legendary queer queen is ready to spill, in this tell-all tale of sex, sorcery and suckers.

Starring Adam Garcia, Chitty Chitty Bang Bang is set to excite the next generation of fans as it flies into the region (Tue 4 – Sat 8 Jun 2024) featuring unforgettable songs including Toot Sweets and Truly Scrumptious, and QDance Company visit Newcastle to perform Re:Incarnation (Tue 15 & Wed 16 Oct 2024), an ode to the richness of Nigerian culture, in which dance, musical and visual art creations are bursting with pure and uncompromising joy.

Newcastle Musical Theatre Company bring smash-hit musical West Side Story (Tue 30 Jul – Sat 3 Aug 2024) to life, and CaroleW Productions take over the Studio stage with their production Limelight (Tue 9 – Sat 13 Apr 2024) based on the career of Julia St George, a real-life star of the Victorian stage born on Broad Chare in Newcastle.

Alfred Hitchcock’s classic spy thriller The 39 Steps (Tue 9 – Sat 13 Apr 2024) is brilliantly and hilariously recreated for the stage as four fearless actors play 139 roles in a performance full of fast-paced fun and thrilling action and unforgettable theatrical tour de force, The Kite Runner (Tue 25 – Sat 29 Jun 2024), opens direct from Broadway.

In another best-selling novel to stage adaptation, The Boy at the Back of the Class (Tue 30 Apr – Sat 4 May 2024) balances heart and humour in an unexpected and often hilarious adventure, highlighting the power of friendship and kindness.

In the Summer holidays, 101 Dalmatians: The Musical bounds into Newcastle for one week only (Tue 27 Aug – Sun 1 Sep 2024), when fashonista Cruella de Vil’s evil plan to swipe the town’s puppies for a new fur coat means there is trouble ahead for Pongo, Perdi and their tail-wagging young pups. Younger audiences will enjoy Peppa Pig’s Fun Day Out (Wed 21 – Thu 22 Aug 2024), packed full of songs, dances and muddy puddles, this perfect introduction to theatre guarantees giggles and snorts for all.

The 2024/25 pantomime The Little Mermaid will see Newcastle Theatre Royal favourites Danny Adams and Clive Webb return for their 19th year, along with celebrated singer songwriter Joe McElderry and legendary panto dame Chris Hayward.

And finally, following sold out runs in London’s West End at the Shaftesbury Theatre and the Theatre Royal Haymarket respectively, & Juliet (Mon 2 – Sat 7 Jun), as well as Only Fools and Horses The Musical (Mon 10 – Sat 22 Feb), are set to visit Newcastle Theatre Royal in 2025! Get whisked away on a fabulous journey as Juliet ditches her famous ending for a fresh beginning and a second chance at life and love—her way. Or join us as we take a trip back in time, where it’s all kicking off in Peckham with classic characters; Del Boy, Rodney, Grandad, Cassandra, Raquel, Boycie, Marlene, Trigger, Denzil and Mickey Pearce.

Tickets for all performances can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010. Can’t decide? Opt for Newcastle Theatre Royal gift vouchers and your friends and family can decide for themselves!

Lyric Theatre, Shaftesbury – until the 14th January 2024

Reviewed by Fiona Leyman

5*****

I know it’s the Christmas season and all, but I want to make something very clear.

This play is not a Pantomime in any way whatsoever!

“OH YES IT IS!” “OH NO IT ISNT!” “OH YES IT IS!” OH NO IT BLOODY ISNT!”

“It’ll be alright on the night” they said. What possibly could go wrong? EVERYTHING, in fact!!

The audience is filing into their seats, and chaos has ensued. Trevor (Chris Leask), the Stage Manager, has misplaced his hammer and is having everybody search for it. With a bottle of beer in his hand, he is growing increasingly irritated by everyone ignoring him. AD Robert (Matthew Howell) is attempting to repair the flickering lights around the theatre, when he discovers that the only way to do so is to run an extension lead through the audience to the back of the theatre. They haven’t even begun the show, and things are not going according to plan. If you think something is likely to go wrong, it probably will, but everyone must continue with the show, no matter what.

The Cornley Drama Society are back with their brand-new production of Peter Pan. Director Chris (Harry Kershaw) and Co Director (“Assistant Director” according to Chris) Robert are attempting to redeem themselves after the disaster that unfolded at their premiere of Oliver Twist the Musical. Mr Bumble, played by Robert, sadly fell on one of the children who perished due to his Tesla blocking the ambulance bay. Determined to make up for prior mishaps in previous shows, their production of J.M. Barrie’s Peter Pan was sure to go off without a hitch. A substantial cash injection from Max’s (Matthew Cavendish) uncle allowed for new elaborate sets, lighting, and special effects that this ensemble of “talented” performers, minus Robert’s niece Lucy, who suffers from terrible stage fright, can’t possibly mess up.

This hilariously funny, slapstick comedy from the writers of A Play That Goes Wrong (Henry Lewis, Jonathan Sayer, and Henry Shields), promises to entertain audiences far and wide.

Matthew Cavendish (Max) is a charming actor who delights the audience with his cheeky little smiles and quirks. Nancy Zamit (The Play That Goes Wrong, Mischief Co-Founder) is a hilariously funny Tinkerbell, with her tutu hooked up to a power cable and her lightning-fast costume changes (beware of partial nudity).

I had no idea what to expect from this Faulty Towers-esque show, but after being assured by my guest that I was going to love it, I took my seat and settled in for an unexpected treat. At one point, I was laughing so hard that I needed tissues to prevent my mascara from running down my face. Trust me, that isn’t a good look! The audience participation was fantastic, with everyone roaring with laughter, especially when things went off script!

If you want to laugh from beginning to end, this is the show to see, you won’t be disappointed. It’s so Wrong it’s Right and deserves 5 Stars.

Crucible Theatre, Sheffield – until Saturday 2^nd December

Reviewed by Carol Crann 
 
4****

Noises Off was written in 1982 by Michael Frayne, who realised – after watching a farce from the wings – that it was actually funnier from backstage. It’s named after a stage direction that refers to the sounds heard offstage, and is performed in three parts.

The first joins the technical rehearsal of a farce called Nothing On, following the tribulations of a dysfunctional cast just before opening night. It takes place in a house that is supposedly empty, empty except for housekeeper, Mrs Clackett. She’s played by Dotty (Liza Goddard), and her role develops as characters appear for numerous dubious reasons. 

You’ve then got estate agent, Roger Tramplemain, who is portrayed by Garry (Dan Fredenburgh), and is an accomplished, but insecure actor that’s actually in a relationship with Dotty. Tramplemain arrives with a young lady (Lisa Ambalanar) that he’s trying to seduce, and who – in the true tradition of farce – ends up in her underwear.

When the owners of the property arrive home from Spain, doing so under wraps as to not alert the taxman, you meet Philip and Flavia – played by Freddie (Simon Coates) and Belinda (Lucy Robinson). Both have their own idiosyncrasies which the audience see gradually deteriorate throughout the run.

There is also an appearance towards the end of an aging and tired burglar, played by Selsdon (Matthew Kelly), who happens to be partially deaf with a serious drinking problem. And who is the one trying to pull the whole performance together? That would be the director, Lloyd Dallas (Simon Shepherd), whose relationships with a couple of the younger team members later leads to chaos.

Part two shows the performance. It’s a midweek matinee, but the audience sees it from the backstage perspective, showing how the relationships between the cast members has deteriorated and how that has impacted on the performance. It is full of slapstick comedy as the actors turn on each other with the stage manager, Tim (Daniel Rainford), and his assistant, Poppy (Nikhita Leslar), desperately trying to keep the show on track amidst the mayhem – as well as being understudies.

The final act? That takes place towards the end of the run, just as everything starts to breakdown. Relationships between all the cast and stage crew are marred by jealousy and personal differences, the set is starting to fall apart, and props either end up in the wrong place or go missing completely. Everyone tries to keep the show on course, of course, but inevitably this leads to more slapstick, more disasters and ultimately complete ad-libbing in order to try and save the show. 

Throughout the performance there is a lot of excellent comic timing shown by all the individuals with all the elements of a farce clearly demonstrated. Cast members trousers falling down, the inevitable trips and falls and the constant reference to plates of sardines which otherwise has no relevance in the play.

If you’re a lover of slapstick and farce then this is definitely a show to go and see. At times the audience were left laughing uncontrollably at the resulting chaos unfolding on stage – and what better seal of approval could you ask for?

Hull New Theatre – until 2nd December 2023

Reviewed by Dawn Bennett

5*****

Bill Kenwright Presents Gary Barlow and Tim Firth’s Calendar Girls The Musical

Last night at Hull New Theatre we were treated to a masterclass in how to put on a musical. Its going to be quite hard to put into words how good it was but I’ll give it a go!

The show based on the true story of a group of women from a Women’s Institute in a small Yorkshire Village who set out to raise some money to buy a sofa for the visitor’s room at their local hospital after tragedy hits one of the group. Annie (Tanya Franks) and her husband John (Colin R Campbell) receive the news that he has cancer and we follow his journey. This part of the production isn’t an easy one but it is played beautifully and the songs are both heartbreaking and poignant. The songs are just lovely and are sung with such feeling and we get to meet and find out about each of the characters this way.

Chris (Amy Robbins) has the idea to produce a calendar to help raise the funds but not your normal WI, with pictures of Yorkshire, knitting or jam but with…gasp…nudes and the WI ladies being the nudes as well!! The WI is led by Marie (Paula Tappenden) a stickler for the rules and she wants your normal calendar the same as previous years. The other members Ruth (Maureen Nolan), Jessie (Lyn Paul), Celia (Marti Webb) and Cora (Honeysuckle Weeks) get together and along with Chris’s husband, Rod (Graham MacDuff), who is going to photograph the pictures for the calendar and what follows is hilarious!

This is magnificent show, from the Band (led by musical director Jordan Alexander), the very talented cast to everyone else involved in putting this production on stage. The nude scenes are very tasteful and greeted by loud cheers from the audience! Just checking through the programme at what other things the cast had been in is jaw dropping enough but to see them all in action is just superb! Go and see this show you will not be disappointed…I certainly wasn’t!