PROTEUS THEATRE COMPANY ANNOUNCES

INDESTRUCTIBLE WRITTEN AND DIRECTED BY MARY SWAN

TO PREMIÈRE AT OMNIBUS THEATRE

Proteus todayannounces full cast and creative team for Indestructiblewritten and directed by the company’s Artistic Director Mary Swan.

Mary Swan directs Danny Charles (Christian), Paul Huntley-Thomas (Robin) and Mary Rose (Catherine) in this highly visual production incorporating AI imagery, projections and original music into Proteus’ distinctive physical style.

The full creative team includes Animation and Projection Design by Christopher Harrison, Set and Costume Design by Sam Pine, Lighting Design by Joe Hornsby, Dramaturg and Digital Artist Paula Varjack, and Dramaturg Saul Jaffe.

Indestructible will première at Omnibus Theatre on 18 January 2024 and will run until 3 February 2024, with previews from 16 January.

Artistic Director of Proteus Mary Swan said today, “Indestructible is by turns dryly funny and caustic about the machinations of what it means to be a female Artist, whilst also asking serious and vital questions about cancel culture and accountability.

“Taking photographer Lee Miller’s identity as a Surrealist as inspiration, the show uses a myriad of visual theatrical styles and techniques. Multi-disciplinary Artist Christopher Harrison has created animations and AI-generated digital projections, at once unsettling and beautiful, to propel the action inside and outside the mind of our central character. It is a show we want the audience to discuss, and argue about, long after they have seen it.” 

Proteus presents

INDESTRUCTIBLE

Written and directed by Mary Swan

Omnibus Theatre

16 January – 3 February 2024

Dramaturg and Digital Artist: Paula Varjack; Dramaturg: Saul Jaffe; Animation and Projection Design: Christopher Harrison; Set and Costume Design: Sam Pine; Lighting Design: Joe Hornsby

Cast: Danny Charles (Christian); Paul Huntley-Thomas (Robin); Mary Rose (Catherine).

“I’m tired, I’m tired of trying to play the system, I’m tired of trying to fight the system and I’m tired of feeling tired about it.”  

Catherine Shaw spent the 90s shocking the art world with her provocative performance art. She’s always called herself a feminist, but looking back through the lens of #MeToo, she’s questioning how much she enabled the culture she now sees being called out.

An ambitious Curator approaches her to put together an exhibition of female Artists at a major new gallery; a scandal breaks and, unwittingly caught in the centre, she begins to question everything.   

When men behave in unacceptable ways, why do we always point to the women close to them and ask why they did nothing? Can we, and should we, separate the art from the artist? How far do the ripples of consequence spread? And why is it always women who must hold the moral space?  

Indestructible takes in uncompromising female Artists, from Lee Miller to the Guerrilla Girls via Sinead O’Connor and Taylor Swift, to ask: why is it still so difficult for female Artists to succeed? And why are women always the Muse, never the Artist?  

Danny Charles plays Christian. Previous credits with Proteus include The Little Mermaid, The Arabian Nights, Macbeth, and A Christmas Carol (UK tours) and, as a writer, Talk to me. His theatre credits include Stripy Tales (Octagon Theatre Bolton), No Worries (Polka Theatre), Nervous Break-down (Croydon Warehouse), and Sleeping Beauty (Hoxton Hall).

Paul Huntley-Thomas plays Robin. Previous credits with Proteus include Mad, Bad and Dangerous to Know, A Christmas Carol, More C*nt Than Can’t, Rapunzel, M.I.A, The Secret Garden, and Frankenstein. His theatre credits include Table Manners, Wait Until Dark, The Morning After the Night Before, Sunkissed, Dial M for Murder (Sheringham Little Theatre), Entertaining Angels (New Perspectives Theatre Company), The Clearing (Forest Forge Theatre Company), The Firebird and Wuthering Heights (Oxford Touring Theatre Company), The Tractor Girls (Salisbury Playhouse), Around the World in 80 Days (Snap Theatre), Macbeth (Pukka Theatre Company), and As You Like It, Macbeth (Soho Group). His television credits include Lost Women Spies, Secret Invasion, Good Neighbours, Jim Morrison Biopic, I Am A Nazi, Premier League, The Definitive Guide to Hitler, 999 Killer on the Line, Omid Djalili Show, Mozart’s Muse, The Sex Education Show,and Hero At 30,000 Feet; and for film Kunjaali Marakkar.

Mary Rose plays Catherine. Her previous work with Proteus Theatre company includes 12.10.15 (Edinburgh Festival Fringe, UK tour) Frankenstein, Dracula, Beauty and the Beast,and The Wedding Present (UK tours). Other theatre credits include Romeo and Juliet (Pilot Theatre), The Seagull (Royal Court Theatre, Walter Kerr Theatre), Bullet Shaped Heart (Greenwich Theatre), Kane (Theatre503), Thin Toes (Hampstead Theatre), The Cut (The Old Vic), Macbeth (New Wolsey Theatre), A Midsummer Night’s Dream (Salisbury Playhouse), Fortune’s Fool (Chichester Festival Theatre), and Tess of the d’Urbervilles (The Watermill Theatre). She also co-wrote and performed What About Samuel? (Brighton Festival, Arts Theatre London) with fellow cast member, Danny Charles.

Mary Swan writes and directs. She joined Proteus as Artistic Director in December 2004. Since then, she has developed the company’s distinctive style for fusing physical performance, circus, puppetry and music. Her theatre credits as director for Proteus Theatre include The Secret Garden, Missing in Action, Dracula, Houdini, Frankenstein, Arabian Nights, Becoming Hattie, Macbeth, Merrick, The Bloody Chamber (UK tours),The Elephant Man (Shakespeare’s Globe, 59E59 Theatre, Brits Off Broadway Festival), The Party (a co-production with Nearly There Yet Theatre, Southbank Centre) and The Bloody Chamber (Pavilion Theatre and National tour).

Paul Wild composes. He has written and performed music for Proteus shows for 10 years, including Frankenstein, Merrick, Below Zero, Peter Pan, Beauty and the Beast, Dracula, The Princess and the Pea, The Secret Garden, Poppy Wild’s Magical Machine, Sophia and the Snail and Houdini (UK tours) and The Elephant Man (Shakespeare’s Globe, 59E59 Theatre, Brits Off Broadway Festival). He has previously worked with Mary Swan on the soundtrack for shows at Solent People’s Theatre and The New Wolsey Theatre in Ipswich. 

LISTINGS

Indestructible

Omnibus Theatre

1 Clapham Common North Side, London, SW4 0QW

Box Office: www.omnibus-clapham.org / 0207 498 4699

16 January – 3 February 2024

Run Time: 90 mins

Age guidance 14+

MICHAEL BALL AND LUCY ST. LOUIS

ANNOUNCED AS FURTHER HEADLINE ARTISTS FOR

“MY FAVORITE THINGS:

THE RODGERS & HAMMERSTEIN

80^TH ANNIVERSARY CONCERT”

WITH 40-PIECE ORCHESTRA

AT LONDON’S THEATRE ROYAL DRURY LANE

FOR TWO PERFORMANCES ONLY ON TUESDAY, 12 DECEMBER  2023

Today, The Rodgers & Hammerstein Organization announced that two-time Olivier Award^® winner Michael Ball and West End sensation Lucy St. Louis will also headline the previously announced My Favorite Things: The Rodgers & Hammerstein 80th Anniversary Concert. Tickets are available now.

They join the previously announced television, film and stage actor Daniel Dae Kim; Emmy^®, two-time GRAMMY^® and six-time Tony Award^® winner Audra McDonald; Olivier Award^® nominee Julian Ovenden; Tony, GRAMMYand Critics Choice Award^® nominee Ashley Park; Tony Award winner Aaron Tveit; Olivier Award nominee Marisha Wallace; and two-time Tony, two-time Golden Globe^® and Emmy Awardnominee Patrick Wilson.

Featuring a 40-piece orchestra, the gala will be presented for two performances only onTuesday, 12 December, at London’s newly restored Theatre Royal Drury Lane – the same venue that premiered the original West End productions of Rodgers & Hammerstein’s Oklahoma!, Carousel, South Pacific and The King and I.

Directed and staged by Tony Award-winning director and choreographer Christopher Gattelli, the celebration of the historic partnership of Richard Rodgers and Oscar Hammerstein II will feature the Rodgers & Hammerstein Concert Orchestra, conducted by Simon Lee, along with a West End chamber choir, dance ensemble and surprise guest appearances. Artist lineup subject to change.

Tickets are currently on sale at RH80Concert.com.

Presented by The Rodgers & Hammerstein Organization, the concert is produced by Concord Originals, Concord Theatricals and Kilimanjaro Live/JAS Theatricals.

MAYFLOWER THEATRE IS DELIGHTED TO ANNOUNCE THE RETURN OF THE

HIGHER EDUCATION BURSARY SCHEME

Mayflower Theatre’s Higher Education Bursary Scheme has been designed to support individuals in the local community who want to progress in a career within the arts, whether that is as a performer, a technician or an arts administrator. Mayflower Theatre recognises particularly in the current climate, how key it is to support young people with this and look forward to being able to give back to the community through this scheme. The Higher Education Bursary Scheme is open to individuals between the ages of 18 – 25 who reside in Hampshire. Support is prioritised to those who are either attending a degree course or audition run by a member of The Federation of Drama and Dance Schools; experiencing financial or other hardship or who demonstrate outstanding commitment and achievement in their art form.

Michael Ockwell, Chief Executive of Mayflower Theatre says “I am delighted that we are continuing the Higher Education Bursary Scheme in 2023. We have already had a positive impact on so many young people’s careers and in the last 12 months we have awarded £19,000 in bursary monies to seven aspiring performers, and we cannot wait to continue to support more individuals through this scheme.”

Patrick O’Sullivan, Head of Creative Learning added to this by saying “It is so important to us as a theatre, we can provide an inspiring experience to all ages. The Higher Education Bursary Scheme is one of many initiatives we have to help engage young people into the world of the arts. In the current economic climate we want to help ensure that financial barriers do not limit young people’s opportunities.”

One recipient of the Higher Education Bursary for 2022-2023 was Petra Joan-Athene, whose has been visiting Mayflower Theatre since a young age with the theatre being just minutes away from her home. When asked how the bursary has benefited her she said ‘The Bursary has definitely given me a confidence boost in that I could continue my training with the ‘financial armbands’ I needed to keep me afloat. I am very grateful to have received the bursary and I think it’s such a wonderful scheme that gives other local aspiring performers the support they need.’ Petra has now booked her first theatre contract following her time at Bristol Old Vic and is excited to see where her career progresses.

The scheme provides up to £50,000 per year to individuals with an interest in acting, dance, music, writing, technical theatre and other arts-related professions. With a maximum amount of £3,000 per awardee, there are also additional ‘special’ awards of up to £9,000 for those who have exceptional potential or unique talent and ideas. Mayflower Theatre encourages any individuals between the ages of 18 – 25 who reside in Hampshire to apply if they are looking to pursue a career in the arts.

The Higher Education Bursary scheme encourages young people to apply before the deadline of 8 December 2023.

ADAM GARCIA

TO STAR AS
‘CARACTACUS POTTS’

IN

A NEW PRODUCTION OF THE

MOST FANTASMAGORICAL MUSICAL OF ALL TIME

CHITTY CHITTY BANG BANG

OPENING AT

MAYFLOWER THEATRE, SOUTHAMPTON

ON 30 APRIL 2024
AHEAD OF A UK TOUR

David Ian for Crossroads Live is delighted to announce that Olivier-nominee Adam Garcia will star as Caractacus Potts in a new production of the most fantasmagorical musical of all time, CHITTY CHITTY BANG BANG,opening at Mayflower Theatre, Southampton from Tuesday 30 April 2024, before embarking on a UK tour. Further casting to be announced soon. www.chittyontour.com

Adam Garcia recently received rave reviews as Julian Marsh in Curve and Sadler’s Wells hit production of 42^nd Street. His musical theatre credits include Tony Manero in Saturday Night Fever and Bill Calhoun in Kiss Me, Kate, for which he received Olivier Award nominations for both roles. His other theatre credits include Fiyero in Wicked, The Artilleryman in The War of the Worlds and Damien Karras in The Exorcist. His film credits include Kenneth Branagh’s Death on the Nile and Murder on the Orient Express, Confessions of a Teenage Drama Queen, Coyote Ugly and Riding in Cars with Boys. Adam recently appeared as a finalist in the UK series of The Masked Dancer, finishing in second place.

Based on Ian Fleming’s timeless story for children and later made into the famous 1968 film, CHITTY CHITTY BANG BANG features the unforgettable songs by the Sherman Brothers including Toot Sweets, Hushabye Mountain, Truly Scrumptious and the Academy Award-nominated title song, Chitty Chitty Bang Bang.

This new production will be directed by Thom Southerland (Titanic, Parade), choreographed by Karen Bruce (BBC’s Strictly Come Dancing, The Bodyguard) with Set and Costume design by Morgan Large (Newsies, Joseph and the Technicolour Dreamcoat), Lighting design by Ben Cracknell, Sound design by Gareth Tucker, Musical Supervision by George Dyer (The Wizard of Oz, Annie, Billy Elliot) and casting by Debbie O’Brien.

In CHITTY CHITTY BANG BANG we meet absent-minded inventor Caractacus Potts who restores a broken-down old racing car with the help of his children Jemima and Jeremy. Soon the family discover the car has magical powers, and along with the delectable Truly Scrumptious, the family end up on a hilarious fantastical adventure to far off lands.

CHITTY CHITTY BANG BANG has Music and Lyrics by Richard M. Sherman and Robert B. Sherman, Music by Special Arrangement with Sony/ATV Publishing and is Adapted for the Stage by Jeremy Sams. Based on the MGM Motion Picture the Licensed Script is adapted by Ray Roderick. It was Originally produced by Eon Productions, Dana Broccoli, Frederick Zollo, Nicholas Paleologos, Jeffrey Sine, Miriam Productions and Michael Rose at The London Palladium.

This production is presented by permission of Music Theatre International.

Original Theatre presents a Winter/Spring 2024 tour of
The Time Machine – A Comedy

Starring Michael Dylan, George Kemp, Amy Revelle
Written by Steven Canny & John Nicholson
(Very) loosely adapted from the novel by HG Wells
Directed by Orla O’Loughlin 

Original Theatre presents a Winter/Spring 2024 tour of Steven Canny and John Nicholson’s The Time Machine – A Comedy, following the play’s previously announced forthcoming London première at Park Theatre from 30 November – 30 December. 

The Winter/Spring 2024 tour of The Time Machine – A Comedy, will star Michael Dylan (Wilf) and Amy Revelle (Offside), who appeared in the 2023 Spring tour and Park Theatre runs. They will be joined by George Kemp (Jack Absolute Flies Again), who takes over his role from Dave Hearn after the Park Theatre run. 

Join George, Amy and Michael for the premiere of their brand-new version of The Time Machine. H G Wells’ comic deadly serious masterpiece will never be the same again as this hapless highly skilled group of actors embark on a journey of a lifetime!  Will George persuade the others to stick to the script he’s worked so hard on? Will Michael be able to explain time travel without the help of excessive props? Will Amy get to sing her Cher tribute? And ultimately… will they be able to defeat the space time paradox – or at least get through the second half?  

The Time Machine – A Comedy will tour to The Lowry, Salford (23-27 January), Exeter Northcott Theatre (5-8 February), Cambridge Arts Theatre (13-17 February), Perth Theatre and Concert Hall (20-24 February), Everyman Theatre, Cheltenham (27 February – 2 March), Yvonne Arnaud Theatre, Guildford (5-9 March), Theatre Royal Bury St Edmunds (12-16 March), Lichfield Garrick Theatre (19-23 March), Royal & Derngate, Northampton (26-30 March) and Leeds Playhouse (2-6 April). 

From the team behind the smash-hit comedy The Hound of the Baskervilles, The Time Machine – A Comedy is directed by Orla O’Loughlin and designed by Fred Meller, with lighting design by Colin Grenfell and Sound Design by Greg Clarke.  

To find out more, visit: https://originaltheatre.com/productions/the-time-machine-2024-tour 

Warning: may contain Cher tunes. Age guidance: 10+. 

LISTINGS

Age Guidance: 10+ 

Running Time: 2hrs 5 minutes 

PARK THEATRE 

Show: The Time Machine – A Comedy 

Venue: Park Theatre, Clifton Terrace, Finsbury Park, London N4 3JP 

Dates:  

Plays: Thu 30 November – Sat 30 December 2023 

Mon – Sat 19.30, matinees Thu & Sat 15.00. Tue 26 Dec 13.00 & 17.00 (no perf Mon 25 Dec) 

Box Office: https://parktheatre.co.uk/whats-on/the-time-machine–a-comedy / 020 7870 6876 

Tickets: Previews: £15 – £25. Standard: £22.50 – £44.50. Under 16: £15-£25. 65+: £20 – £22.50 (Mon eve and Thu mat). Access: £17.50. Booking fees apply. Book early to secure the best prices. Prices may change, subject to demand. 

Access information: https://parktheatre.co.uk/your-visit/access-information 

Category: theatre / family / drama / comedy / festive entertainment  

2024 TOUR  

23-27 January             The Lowry, Salford (on sale now) 

https://thelowry.com/whats-on/the-time-machine-a-comedy/ / 01618762000 

5-8 February               Exeter Northcott Theatre (on sale soon) 

https://exeternorthcott.co.uk/events/the-time-machine/ / 01392726363 

13-17 February           Cambridge Arts Theatre (on sale soon) 

https://www.cambridgeartstheatre.com/ / 01223503333 

20-24 February           Perth Theatre and Concert Hall (on sale soon) 

https://www.perththeatreandconcerthall.com/ / 01738621031 

27 February – 2 March              Everyman Theatre, Cheltenham (on sale now) 

https://www.everymantheatre.org.uk/shows/the-time-machine-a-comedy/ / 01242 572573 

5-9 March                   Yvonne Arnaud Theatre, Guildford (on sale now) 

https://www.yvonne-arnaud.co.uk/whats-on/the-time-machine / 01483440000 

12-16 March               Theatre Royal Bury St Edmunds (on sale now) 

https://theatreroyal.org/shows/the-time-machine/ / 01284769505 

19-23 March               Lichfield Garrick Theatre (on sale now) 

https://www.lichfieldgarrick.com/whats-on/all-shows/the-time-machine-a-comedy/3247 / 01543412121 

26-30 March               Royal & Derngate, Northampton (on sale now) 

https://www.royalandderngate.co.uk/whats-on/the-time-machine/ / 01604624811 

2-6 April                      Leeds Playhouse (on sale soon) 

https://leedsplayhouse.org.uk/ / 01132137700 

SHEFFIELD THEATRES ANNOUNCE NEW SUPPORTED ARTISTS OF THE BANK COHORT 2024

Sheffield Theatres today announce the ten artists, including writers, producers and directors, who will be supported for the next year as members of The Bank Cohort for 2024. The Bank is a dedicated hub for talent development; this is the fourth cohort to be supported by Sheffield Theatres.

The artists will be offered bespoke support, training, artistic opportunities and professional development.

Joining the Writing Group are: Mandi Chivasa, Billie Collins and Madeleine Farnhill who will benefit from masterclasses, mentoring, and a read-through of their work at Sheffield Theatres as they develop new ideas for plays.

Joining the Producing Group are: Noemi Antonelli, Helen Denning and Ellie Ragdale who will receive mentoring, as well as seed funding to develop an idea, event or production using The Bank as their base, drawing on the support of the producing team at Sheffield Theatres.

Joining the Directing Group are: Edgars Naglis, Yanni Ng, Natalie Simone and Chantell Walker who will benefit from masterclasses and mentoring as well as working an assistant director on a Sheffield Theatres’ production.

Tom Bird, Chief Executive of Sheffield Theatres said:

‘This is the fourth year Sheffield Theatres has supported local artists with The Bank Cohort and we are so excited to see what fantastic work they produce under our talent development scheme. Previous cohort members have gone on to do many brilliant things in the theatre world, so it is a privilege to support the early stages of trailblazing projects and watch them blossom with the space, training and opportunities offered by our teams. I certainly can’t wait to see what this next iteration of local talent has to share with us and our future audiences.’

The Bank, which is located adjacent to the Crucible on Tudor Square, is a creative space for local artists and theatre makers to develop their work, skills, collaborations and careers with the support of the staff and creative teams at Sheffield Theatres. During their time as members of The Bank Cohort, the supported artists will be based in The Bank where they will be able to access a Writers Room and library which offers a quiet space for artists to develop and write work, as well as a larger space for group work including research and development, rehearsals and scratch performances.

CAST ANNOUNCED FOR THE WEST END PRODUCTION OF TONY® AND GRAMMY® AWARD-WINNING, HADESTOWN

LYRIC THEATRE, LONDON FROM 10 FEBRUARY 2024
uk.hadestown.com

London; Thursday 16 November 2023: Casting has been confirmed for the highly anticipated West End premiere of multi award-winning Hadestown which will open at the Lyric Theatre, London with performances from Saturday 10 February 2024.

Winner of 8 Tony® Awards including ‘Best Musical’ and a Grammy® Award for ‘Best Musical Theatre Album’, Hadestown returns to London five years after its sold-out run at the National Theatre in 2018.

Blending modern American folk music with New Orleans-inspired jazz, the Original Broadway Cast Recording of Hadestown is one of the most streamed cast albums of all time with over 340 million streams to date.  It won the Grammy Award® for ‘Best Musical Theatre Album’,topped Billboard’s Broadway Cast Recording chart and debuted at #8 on the Top Album chart.

The West End cast will include Dónal Finn (Orpheus) known for playing Mat Cauthon in Series 2 of Prime’s The Wheel of Time, Grace Hodgett Young (Eurydice) who is currently starring as Betty Schaeferin Sunset Boulevard at the Savoy Theatre, Grammy® Award-winner Zachary James (Hades) who originated the role of Lurch in The Addams Family at the Lunt-Fontanne Theatre on Broadway and the role of Abraham Lincoln in the world premiere of Philip Glass Opera The Perfect American at Teatro Real in Madrid, Musical Theatre actress and singer Melanie La Barrie (Hermes) whose many credits include originating the roles of Mrs. Corry in Mary Poppins at the Prince Edward Theatre and Nurse in & Juliet at the Shaftesbury Theatre, and Gloria Onitiri (Persephone) who originated the role of Fairy Godmother in Andrew Lloyd Webber’s Cinderella at the Gillian Lynne Theatre, Princess Desiree in Upstart Crow at the Apollo Theatre and who previously performed in Hadestown at the National Theatre.

Bella Brown, Madeline Charlemagne, and Allie Daniel will play the Fatesand Lauren Azania, Tiago Dhondt Bamberger, Beth Hinton-Lever, Waylon Jacobs, and Christopher Short will play the Workers, with Lucinda Buckley, Ryesha Higgs, Miriam Nyarko, and Simon Oskarsson as Swings.

Hadestown features music, lyrics, and book by acclaimed Grammy®-winning singer-songwriter and BBC Radio 2 Folk Award-winner Anaïs Mitchell, who originatedHadestown as anindie theatre project and acclaimed album.  Mitchell then transformed the show into a genre-defying new musical alongside artistic collaborator and Tony® Award-winning director Rachel Chavkin, whose theatre credits include Mission Drift (National Theatre) and American Clock (The Old Vic).

Hadestown takes you on an unforgettable journey to the underworld and back, intertwining two mythic love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone.  A deeply resonant and defiantly hopeful theatrical experience, Hadestown invites you to imagine how the world could be.

The Hadestown creative team features Obie Award® winner and Chita Rivera Award® winner David Neumann (choreography), Tony Award® winner Rachel Hauck (scenic design), four-time Tony® Award nominee Michael Krass (costume design), two-time Tony Award® winner Bradley King (lighting design), Tony® Award winners Nevin Steinberg and Jessica Paz (sound design), Liam Robinson (music supervision and vocal arrangements), Tony® Award winners Michael Chorney and Todd Sickafoose (arrangements and orchestrations), and Ken Cerniglia (dramaturgy). Casting for the London production is by Jacob Sparrow.

Hadestown is produced in London by Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy and the National Theatre in association with JAS Theatricals.

Lyceum Theatre, Sheffield – until 18th November 2023

Reviewed by Carol Crann

4****

Barnum is the story of “The Greatest Show on Earth” and its founder, the Prince of Humbug, Phineas Taylor Barnum. It is set in the middle of the 19th Century and shows the rise to fame of PT Barnum, impressively played by Mathew Walker and his much suffering but dedicated wife, Charity played by Gina Holmes whose voice is perfectly suited for the some of the well-known numbers in the show. It narrates his rise in fame exhibiting the weird and wonderful in his American Museum, taking on board the management of famous Swedish opera singer, Jenny Lind, played by Joanne Shearsby– whose operatic background is apparent as she belts out some powerful songs. To his near downfall as he reportedly gets into a romantic entanglement with the “Swedish Nightingale”, but then realises he still loves his wife and returns to her and a much more subdued life. This however doesn’t last long as Charity realises that he needs passion and excitement in his life.

Sheffield has long been known for its strong amateur dramatic presence, STOS being only one of the local societies, and this show certainly doesn’t disappoint. The cast not only have to concentrate on their singing and dancing but clearly have spent months learning and working on their circus talents. Everyone on the stage had learnt additional skills – tight rope walking, juggling, unicycle riding, tumbling and even using aerial hoops. The story is held together by the Ringmaster (Steve Mather) whose booming voice is ideal for the part, as are his whiskers.

Mathew Walker, however, deserves a special mention. His performance is brilliant throughout. He has an incredible stage presence, a great singing voice and delivers with boundless energy – he is on stage for virtually the whole show and his comic timing cannot fail to amuse. On top of all this he has learnt to juggle with various items, but even more impressively he demonstrated his ability to walk a tightrope and sing at the same time.

Altogether a most enjoyable show – definitely worth going to see

Festival Theatre, Malvern – until 18th November 2023

Reviewed by Courie Amado Juneau

5*****

Frankenstein: that iconic creation we all know, right? Well, it depends… For many the Karloff Monster (flat head with neck bolts) is the definitive one. Adaptor & Director Séan Aydon’s new version goes back to Mary Shelley’s book and re-imagines the story in a more modern setting (just before WWII), but is probably the most faithful ever regarding the original monster.

Loneliness is one of the key themes – this subliminal effect cleverly set up by the opening scene’s long silence in a log cabin that seems to drag on uncomfortably as a character we learn is called Captain has her solitude finally broken by another lone female visitor…

Having a female Doctor was very interesting, giving a different dynamic to the relationships. Eleanor McLoughlin played Victoria (not Victor) Frankenstein with great emotion, especially in those scenes where there was turmoil over the weighty moral decisions to be made or the consequences of her actions/inactions. I enjoyed her multi-dimensional portrayal much more than many I have seen.

Soon we are taken to the laboratory. An impressive sense of scale is achieved, mostly from the deliciously off kilter window that dominates. The exceptionally informative and attractive programme (undoubtedly the best I’ve seen) explains how the lab was lit in cold colours (blue etc) to highlight the scientific, clinical workspace. A striking contrast to the warm (and softly) lit cabin. The window also allows for the requisite lightning to be seen and heard – the sound effects and music propelling the action along nicely.

The Creature is arguably where any version of Frankenstein will ultimately succeed or fail. For me, this is the best Creature I’ve ever seen. From the agony of his first moments to his later disjointed movements and horrific emergence in rumour and person – everything was perfectly in tune with the original intention of Shelley’s creation. The strongest character, not just in brute strength but in emotional impact – a thunderous performance from Cameron Robertson, giving us a creation to recoil from, pity and empathise with. Missy Brazier’s make up and prosthetics helped enormously in conveying the Creature’s plight and his horrific physical presence.

The rest of the cast were fantastic too with Dale Mathurin playing likable love interest (Henry), Lula Marsh (Elizabeth) providing wonderful sisterly juxtaposition against the work obsessed Victoria and Basienka Blake giving us the aforementioned Captain and gloriously officious Richter. All added much and provided some relief and normality into the proceedings.

The incredible script explored the Creature’s role of victim and outcast being treated poorly, and his feelings toward the woman who made him, asking wider questions about societal neglect and collective responsibility. Francine (as lab assistant) had a wonderful scene in which she interrogates (and berates) the Doctor for her various reactions to her experiment and how to resolve it. A thought provoking discourse, sensitively delivered by the fabulous Annette Hannah, regaling us with one of the plays pivotal moments.

This has been my favourite Frankenstein ever. A superb interpretation – thoroughly modern and with a relevance that does the script much credit. Impressive. You don’t need a torch wielding mob to catch this Frankenstein – just visit the amazing Malvern Theatres box office. Unlike the Doctor, you won’t regret seeing it.

Cambridge Arts Theatre, Cambridge – until Saturday 18th November 2023

Reviewed by Steph Lott

5*****

The stage at Cambridge Arts Theatre came alive with an air of mystery and intrigue as Agatha Christie’s timeless masterpiece, “And Then There Were None,” unfolded under the expert direction of Lucy Bailey. Starring a formidable cast, including Bob Barrett, Andrew Lancel, and David Yelland, the production proved to be a spellbinding journey into the depths of suspense and psychological drama.

Lucy Bailey’s direction was masterful, with a deep understanding of Christie’s intricate narrative. The decision to stay true to the 1930s setting on Soldier Island transported the audience to an era of dread and uncertainty, trapped in chilling claustrophobia on a remote island. Mike Britton’s set design creates a simple setting that oozes foreboding, setting the stage for the unfolding mystery.

The cast delivered stellar performances and I found Sophie Walter’s depiction of Vera Claythorne riveting. In general, the chemistry among the cast was palpable. The nuanced interactions between them, fuelled by suspicion and paranoia, were executed with a finesse that kept the audience on the edge of their seats. The cast’s ability to convey the complex web of emotions, from fear to desperation, added layers of depth to Christie’s already rich narrative.

The pacing of the production was excellent, with Bailey orchestrating a symphony of suspense that hit a crescendo at just the right moments. The gradual unravelling of the plot was handled with a meticulous touch, allowing the tension to build organically. The climactic scenes were executed with a fabulous precision.

The lighting and sound design deserve special mention for their contribution to the overall atmosphere. The play of shadows and haunting echoes heightened the psychological intensity, enveloping the audience in an immersive experience.

In conclusion, “And Then There Were None” at Cambridge Arts Theatre stands as a testament to the enduring power of Agatha Christie’s storytelling, brought to life with fantastic artistry. Lucy Bailey’s direction, coupled with exceptional performances from the cast, breathed new life into a classic, leaving the audience both enthralled and captivated. This production is not just a play; it’s a thrilling journey into the heart of suspense.