HOPE MILL THEATRE ANNOUNCE NEW CONCERT VERSION OF GYPSY STARRING JODIE PRENGER AS ROSE 

CONCERT AT THE OPERA HOUSE, MANCHESTER ON SUNDAY 25^TH FEBRUARY 2024 WILL SUPPORT HOPE MILL’S ‘HOPE FOR THE FUTURE’ FUNDRAISING CAMPAIGN 

Hope Mill Theatre has announced a one night concert production of Gypsy, starring Jodie Prenger as Rose, will play the Opera House, Manchester on Sunday 25^th February 2024. 

The concert will raise funds for Hope Mill Theatre’s ‘Hope for the Future’ fundraising campaign and will be directed by Joseph Houston and Choreographed by William Whelton, the co-founders of Hope Mill. 

Full cast and creative team to be announced. 

Gypsy, a musical fable, has a book by Arthur Laurents, music by Jule Styne and lyrics by Stephen Sondheim, and was suggested by the memoirs of Gypsy Rose Lee. 

Get ready for a dazzling journey into the world of Gypsy, where dreams are big, and the spotlight is even brighter! Follow the relentless Rose as she propels her daughters June and Louise through the highs and lows of showbiz in this Broadway classic. With toe-tapping tunes, a remarkable cast, and a tale of ambition that will leave you breathless, Gypsy is a theatrical experience that steals the show. Lights up, curtains rise, and let the magic of Gypsy unfold before your eyes! 

Songs include ‘Everything’s Coming Up Roses’, ‘Together (Wherever We Go)’, ‘You Gotta Get a Gimmick’ and ‘Rose’s Turn’. 

Jodie Prenger said: “I am beyond thrilled to be a part of the upcoming Gypsy concert! It’s a dream role for anyone in the theatre world, and I am honored to have the opportunity to bring this iconic character to life. I can remember to this day playing the overture as teenager. Tears welling in my eyes and goosebumps on my forearms.  

“But what makes this concert even more special is that it is in support of Hope Mill Theatre. This fabulous theatre has been instrumental in nurturing and shaping future generations of theatergoers. They provide a platform for emerging talent and continuously push the boundaries of creativity. I can’t wait to step on that stage and be part of something so truly special.” 

Joseph Houston said: “As part of Hope Mill Theatre’s, Hope For the Future fundraising campaign, we are thrilled to be producing Gypsy in concert, starring Jodie Prenger as Rose. There is no denying that Gypsy is one of the greatest musicals of all time, and who else is more fitted to play Rose, one of the most iconic characters of all time, than musical theatre star Jodie Prenger.  

“Staging a musical concert at the Opera House, Manchester is an exciting opportunity for Hope Mill to bring its work to a larger scale and is a first step in exploring a new model for Hope Mill productions. Manchester audiences can expect a truly wonderful evening, that will continue to support our organisation.” 

GYPSY is presented by arrangement with Concord Theatricals Ltd on behalf of Tams Witmark LLC. ConcordTheatricals.co.uk 

  

GYPSY 

A Musical Fable 

Book by Arthur Laurents 

Music by Jule Styne 

Lyrics by Stephen Sondheim  

Suggested by the memoirs of Gypsy Rose Lee 

  

Original production by David Merrick & Leland Hayward. Entire production originally directed and choreographed by Jerome Robbins. 

LISTING INFO: 

Hope Mill Theatre present Gypsy The Musical in Concert 

Opera House, Manchester 

Sunday 25^th February 2024

7.30pm 

Tickets: https://www.atgtickets.com/shows/hope-mill-gala/opera-house-manchester/ 

Hope Mill Theatre will be offering 100 VIP tickets for the evening, which will include a pre show 3 course meal in partnership with Innside Hotel Manchester. VIP tickets will be available http://www.hopemilltheatre.co.uk/event/gypsy-gala

THE LOWRY, SALFORD – SUNDAY 12TH NOVEMBER 2023

REVIEWED BY MIA BOWEN AND SAM JONES (12 YEARS OLD)

5*****

I have visited the Lowry multiple times and have enjoyed shows at both the Lyric and Quays theatres. However, today was my first time visiting the Aldridge Studio. It was the perfect venue for an intimate and immersive theatre experience.

Concrete Youth presents their latest theatrical production, “The Whispering Jungle,” a captivating and immersive touring experience designed specifically for young audiences with profound and multiple learning difficulties. This unique show combines ASMR (Autonomous sensory meridian response), live foley and sensory play, to create a multi-sensory experience like no other. These include using puppets and tactile materials, providing pleasant floral aromas and bubbles.

This theatre group stands out for their commitment to creating accessible theatre. While the rest of the theatrical community has mostly been engaged in discussions about accessibility, Concrete Youth has been actively finding ways to make it a reality. This show is the result of several years of their hard work.

In the intimate setting of the stage, a small audience of 15 of us sits in our small family groups. As we await the start of the show, the cast, consisting of Ewan S Pires, Laura Kaye Thomson, and Finn Kebbe, walks around and introduces themselves to each audience member using sign language. The performance begins with the cast singing a lively song while playing instruments, creating a warm and inclusive atmosphere. Their welcoming approach ensures that each young person feels included and welcome.

The story is set in the Rainforest and starts with a soft whispered narration from off stage. Then, one by one, the characters come to life in the form of puppets. First, the Rainbow Bird (Thomson) makes its appearance, inviting the audience to interact with it by feeling and stroking its soft feathers. Next, the Turtle puppet (Pires) comes onstage, its shell serving as a musical instrument that produces delightful sounds when touched. Lastly, the Monkey (Kebbe) joins the scene, and the audience is once again encouraged to stroke the puppet and engage with the performance. The story follows the journey of the bird, the turtle and monkey who face the threat of deforestation and try to protect their home.

While we were on our way home, my friend Sam mentioned how much he enjoyed the interaction between the actors and the audience. Specifically, he loved it when the actors personally introduced each young person to their puppets. This gesture made Sam feel comfortable and allowed him to know what the puppets looked like and what they were going to do during the performance. Additionally, he thoroughly enjoyed the realistic sound effects produced by the bird when it was flying.

Experiencing the interaction between the actors and the young audience members, along with their families, is truly beautiful. This memorable experience will stay with me for quite some time.

Omnibus Theatre – until 2 December 2023

Reviewed by Claire Roderick

4****

Joe Eyre’s charming new play about grief is a wonderful mix of surreal comedy and heartfelt tragedy. Staged on a fluffy pink set that emphasises the comforting Alice needs, the show begins with a standup routine that stutters to a halt as Alice (Poppy Allen-Quarmby) breaks down, unable to see or hear her audience. Soothed by a man offstage, Alice calms and begins to sleep calmly again. Alice hasn’t been able to work since her father died a year ago. Boyfriend Oli (Luke Nunn) is a doctor and has been taking care of her, always there when she has nightmares, but now money is tight and Oli must work nights at the hospital, so they consider taking in a lodger. Ever-protective Oli makes sure Alice has a clear routine for getting rid of dodgy applicants, but that is all forgotten when Tiger turns up. Tiger (Meg Lewis) wears a full tiger suit which is never removed. Tiger’s absurd quirks – he never enters a room without a knock-knock joke – disarm Alice and she finds escape and comfort in his company. With a New Jersey accent, a lack of modern pop culture knowledge and full of a seemingly innocent, childlike need to help Alice (or himself?), Tiger confuses Oli. Suspicious, but aware that Tiger is a great comfort to Alice, he begrudgingly accepts the presence of this strange creature.

Joe Eyre never clarifies whether Tiger is real, imaginary or mystical but what is certain is that Tiger helps Alice begin to process her grief. A throwaway line drawing a parallel between Darth Vader’s helmet and Tiger’s head could be a moment of clarity for Alice, or a red herring. The ebb and flow of Alice’s grief and emotions is a rollercoaster for Oli as he is carrying a lot of guilt about her father’s death, and Alice’s anger at her father for leaving her is often channelled at Oli as well. Alice and Oli need to have some difficult conversations to move forward with their lives, but Alice always pulls back and escapes into silliness and fantasy to protect herself. There are no easy answers in Eyre’s script, and none of the characters are sure of their paths – grief is messy.

Director Myles O’Gorman handles the comedy and tragedy with a lightness that adds to the magical atmosphere. Eyre’s writing is wonderfully perceptive building a picture of a believable relationship with silly jokes, cruel barbs and awkward reconciliations, and Allen-Quarmby and Nunn give emotional performances. Allen-Quarmby swerves between manic silliness and numbness masterfully, while Nunn portrays the confusion and helplessness of Oli in a nuanced performance. Meg Lewis is terrific as Tiger – a wonderful physical performance with deft comic timing and an overwhelming sense of vulnerability.

Tiger is a sweet and slightly strange production with a heartwarming message of hope and kindness for the bereaved. Everybody needs a Tiger in their lives at some point.

Theatre at the Tabard – until 2 December 2023

Reviewed by Claire Roderick

3***

After a trip to India, 19-year-old Ashley Davenport is determined to follow the spiritual path to enlightenment, to turn his back on life and embrace death. He renounces his inheritance – psychologically – and, unable to kill himself, decides to retire from life and books into an exclusive retirement home.

The residents are baffled about why he would choose to live amongst them, with repeated cries of “He hasn’t lived” and his arrival has repercussions for the staff as well. What follows is an amusing but muddled play that feels as if it’s trying to do too much. Peter Hamilton’s writing is as smart as ever, but packs in culture clashes between teenagers and the elderly, the entitlement of the rich compared to those struggling to survive in a cruel and unfair world, whimsical riffs on happiness, life and death and surreal mystical moments. It feels like three separate competing plays, but Ken McClymont’s smooth direction helps in embracing the puzzling changes of tone and some tweaking and cutting in the future should create a much clearer piece.

Fraser Anthony is wonderful as Ashley – equal parts charmingly innocent and slappably entitled as he frequently mentions the vast amounts of wealth he has psychologically renounced and the batty traditions his family must maintain – the elephant is literally in the room in his family home. Although performed with a deft wit, the residents are recognisable stereotypes – sweet but tough headmistress Rosemary (Josie Ayers), social worker and wannabe artist Judith (Kristin Milward), suave dodgy dealer Johnny (Craig Crosbie) and dour David (Stephen Omer). Their scenes are the highlights of the play but unfortunately, because these characters are so familiar, even Omer’s delightful comic timing can’t prevent his character’s musings feel like an Alan Bennett tribute. Things get more surreal when Judith is once again rejected from heaven and passes on messages from “them,” but most of their scenes feel like the pilot for a sitcom – think OAP Friends meets Last of the Summer Wine.

While the quartet bicker and reminisce, nurse Mr Krish (Yasser Kayani) has a tragi-comic spiral as his self-described mild alcoholism ramps up following Ashley’s arrival. The young staff in the play have a tougher storyline, undocumented immigrants sharing histories of abuse and captivity from their perilous entry to the UK. Their pasts lead Miguel (Baptiste Semin) into fervent religious faith – administering Holy Communion to the residents in one baffling scene – and Kim-Ly (Cara Lee) into hyper-focussed planning to gain UK citizenship and financial security to ensure she is safe from harm – which eventually draws some pretty hateful language from Ashley.

A wonderful cast make the most of their set-pieces and create some magic moments. Ideas and imagination run wild in this play but need to be tamed to produce a more satisfying beast.

Crucible Playhouse Theatre, Sheffield – Saturday 11th November 2023

Reviewed by Sophie Dodworth

3***

For one night only, on its small Northern tour, Parler Femme (translates as ‘talking women’) made by the well-respected, Bolshoi trained, ballet dancer Tala Lee-Turton.

The three act female led show has three clear and defined sections, which is quite welcomed when a performance is at times left to interpretation. On entering the theatre, you are greeted by the dancers with such energy that they capture you straight away. They are all over the auditorium dancing, climbing all over the seats, making some seriously mind-bending shapes and glares.

The first act is a triple-sectioned cinema style film, exploring the subjects of immigration, racism and difficult relationships. This features the short dance film Chinese Laundry. The second act is a duet between a dancer (Lee-Turton) and musician (Roxanna Albayati), portraying the tale of two estranged sisters, reconnecting after the death of their grandmother. This story here isn’t really that clear when you are in the audience and not read the program, it is totally left to interpretation and some are left wondering what on earth is happening. That being said, Lee-Turton is clearly an exceptional dancer and her skill is undoubtable watching her perform in this act, lots of work en pointe. Impressive. The final act after the interval, is a little lighter than the others, focused on a girl group, delving into the issues of female emotion, competition and femininity. An interesting choice of lyrics in the music for this act really adds to the thought-provoking dance with ‘what are we teaching our girls’.

The dancers in the show really are evidently superb, real charisma and polished skill in each and every single one. The final act has parts in unison which visually works so well and some well-choreographed moving around the stage as a group, which is a skill in itself. Huge nod to Patricia Langa, full of stage presence and almost encourages you to follow her.

Ultramodern, contemporary and packed full of talented dancers.

Forum Theatre, Malvern – 10th November 2023

Reviewed by Courie Amado Juneau

5*****

The incomparable English Symphony Orchestra presented us with two meditations upon the theme of oppression – one personal and one national.

First was Tchaikovsky’s Violin Concerto in D Major (1878); the only Violin Concerto the composer wrote, it remains one of the best known in the repertoire. Hearing the opening romantic theme was like receiving a hug off a long lost friend. Glorious!

What gorgeous playing from tonight’s soloist, Chloe Hanslip, who threw the kitchen sink at the opening movement’s cadenza in a dazzling display. Her bowmanship was virtuosic, dramatic and emotional, with innate musicality illuminating the farthest reaches of the musical horizon. An entrancing display. The sombre second movement perhaps portrayed best the composer’s inner contemporary turmoil (in the wake of his disastrous, short lived marriage) with a lush orchestral sweep worthy of any Hollywood epic. The third movement introduced exotic Russian folk elements (both works tonight being, of course, Russian). The orchestra positively fizzed with energy and the pizzicato string playing was particularly impressive – giving us staggering speed coupled with forensic precision. The perfect way to open a concert.

The second half began with an introduction to Shostakovich’s Symphony no 5 in D minor (1937). Introductions, putting a work into context, are always a welcome feature and tonight’s was an exceptionally cogent one from Conductor Kenneth Woods, his insights being (sadly) very timely given the continuing horrors in Ukraine and Gaza.

Written in the wake of Stalin’s vindictive crackdown on artists, the 5th appeared to the tone deaf and myopic to be a work which praised the Soviet regime, outwardly embodying the state sanctioned Socialist realism propaganda. In fact it portrayed the polar opposite. To my ears, the overall impression is the aural equivalent of watching a Tim Burton film – familiar yet off kilter, the angles all wrong! A thoroughly modern, rousing, mournful and thought provoking piece that perhaps deserves the subtitle “Fight War Not Wars”. The orchestra was expanded with more of everything – particularly brass, wind, percussion and three harps. The power of the extra forces became immediately apparent in the lower strings’ opening salvo which was awe inspiring. As were the tuttis which hit you like a ton of bricks. But it was the quiet moments that completely blew me away – the leader of the violins solo playing was sublime and when the strings played that quiet section in the 3rd movement Largo with such remarkable passion and control, it was ethereal. The timpanist looked to be having a ball in the rambunctious passages and the flautist and bassoonists were also worthy of special mention. Couple that with a muscular brass section and you have the perfect reading of this mighty work.

The ESO is perhaps the most perfectly balanced orchestra I’ve ever heard; every element being audible, giving the pieces a commendable precision and crisp clarity which allowed one to discover hitherto unheard details.

Impeccable conducting from Mr Woods gave us performances bristling with excitement that the composers would have been proud of. It was visceral! The standing ovation was thoroughly deserved – I’d have thrown flowers had I brought any. Live music making at its very best. Thank you ESO

York Theatre Royal – until 11 November 2023

Reviewed by Michelle Richardson

4****

New Old Friends Theatre Company’s latest production, Crimes on Centre Court, is playing it’s last three show at York Theatre Royal. A whodunit, with a small cast of only four actors playing numerous roles. Kirsty Cox, Ben Thornton, Katriona Brown and Emile Clark work tirelessly to put on a fantastic show.

Whombledun Tennis Club is hosting its annual tennis tournament, when suddenly Lord Knows drops down dead, whilst eating strawberries and cream. It appears to be a natural death, but his son Hugh isn’t convinced and enlists the help of private detectives Perry and Penny Pink, not related, just partners. With Perry going undercover as a tennis player and Penny getting cosy with Hugh, more and more untimely deaths occur, leading to the question, whodunit and can the sleuth duo solve the mystery?

What first impressed me on entering the theatre was the scene set out on the stage, looked just what you would imagine a tennis club to look like. The set was used to brilliant effect, moving hedges, I’ll talk more about them later, three curtains that were in constant use, old-fashioned locker-room benches, that were wheeled in and out, and a scoreboard.

When we first meet the super talented cast, they are hedges, singing hedges at that. Dressed head to foot in their finest greenery they burst into song, very barbershop quartet. They are constantly flipping characters with speedy costume changes, as well as moving the set around seamlessly to change scenes. Each actor is given a chance to shine. Clark has a very animated face and delivers his posh Sir Hugh voice with aplomb. Special mention must also go to his curly wig, which grew and grew as the show went on. Brown’s expressions, especially as a hedge, were vibrant to match her glorious red hair. Cox delivered fabulous characterisation with all her roles, from the overlooked volunteer, to ace tennis player. Last, but certainly not least, is Thornton, I truly loved his physical comedy. His going downstairs, via stairs, escalator and finally lift was so funny and brilliant to watch. Not only did he act and sing, but he also threw a bit of rap in there too.

The standout scenes for me were the actual tennis, especially when in slow-mo. How they achieved these spectacles is so very imaginative and such a joy to watch. The alliterate wordplay used is truly mindboggling and stunning to listen to, I’m in awe.

This show is a fabulous whodunit comedy that is full of slapstick and laughter. I’m glad I got to see this show before it closes this weekend. I really enjoy this type of theatre and I will certainly keep a look out for New Old Friends in the future. More balls please!

Donmar Warehouse – until 2 December 2023

Reviewed by Claire Roderick

4****

Lynn Nottage’s stateside hit is full of damaged characters finding ways to survive the harsh reality of life after prison. Clyde (Gbemisola Ikumelo) runs the truck stop and doesn’t give a damn about the quality of the food; she just wants to make money to keep her “investors” happy. Unfortunately, one of the ex-cons she employs in the kitchen is on a quest to create the perfect sandwich. When Jason (Patrick Gibson) starts working in the kitchen he is baffled by the others’ attitudes to food preparation and clashes with everybody, ignoring their advice about handling both food and Clyde. But soon, Montrellous’s (Giles Terera) passion and calmness inspire him as well.

As the characters talk about their ruined lives, the cost of making one mistake is laid bare – Rafael (Sebastian Orozo) was high and Letitia (Ronkẹ Adékọluéjó) was desperate for money for her child’s medication. Montrellous and Jason aren’t as open with their history, but when they reveal why they went to prison it is obvious that none of these people deserve to be written off. Clyde has also served time but has wrapped herself in so much armour and anger that she cannot and will not let anybody close. The mind games she plays with the staff are cruel but hilarious to watch as she toys with Jason like a cat with a mouse as the rest, who have obviously been burned before, watch on helplessly. Ikumelo is brilliantly brittle as Clyde – bristling with anger, fear and frustration. Adékọluéjó and Orozo are heartbreakingly sweet as they flirt and Gibson shows the vulnerability and fear beneath Jason’s racist facial tattoos. Terera is a sandwich shaman, exuding a mystic aura that is almost hypnotic as he prepares the food and tries to prepare the others for life after prison. At first, this produces a few giggles, but it doesn’t take long for the audience to become enchanted too. Some of Montrellous’s wisdom and advice is a little hackneyed, but Terera’s delivery and presence give it weight. The camaraderie and encouragement the team have in the kitchen appears to be the only good things in their lives, and Clyde can’t understand why they are dreaming of better things, when they should be grateful for the scraps they have now. The conflict between the worldviews provides dark situations and fantastic comedy directed skilfully by Lynette Linton.

This hard-hitting but bittersweet comedy about second chances and sandwiches is simply delicious.

Southbank Centre – until 6 January 2024

Reviewed by Claire Roderick

4****

Drew McOnie’s new Nutcracker is a delightful treat that will warm your heart on these chilly winter nights. Transforming the café space in the Southbank Centre into an intimate jazz club, the experience is cosy and uplifting.

Tchaikovsky’s instantly recognisable melodies are reimagined by Cassie Kinoshi for a four-piece band with glorious effect – effortlessly transporting the audience between whimsical and sultry moments. Clara’s Christmas dreams become Clive’s in McOnie’s vision, and his dreams lead us on a journey of self-discovery and acceptance. When Clive’s work-stressed dad sees him playing with the Sugar Plum fairy doll, he replaces it with an action man, and Clive unhappily falls asleep. Replacing the injured Sam Salter, Mark Samaras is wonderful as Clive – completely convincing as a young boy comfortable in his own skin but craving acceptance from his father. In his dreams, Clive gets to dance with Sugar Plum (Patricia Zhou) until Action Man appears with his more macho posturing. Clive’s attempts to show Action Man the joy and freedom of just being himself are realised beautifully, as Amonik Melaco’s movements become softer and his steely glare transforms into an innocent open smile.

The nostalgic 1970’s tones of Clive’s home (vintage tins of Quality Street!) become a riot of colour as the parade of characters – inspired by a tray of brightly coloured drinks that Clive and Action Man taste – take their turns on the floor. Chanelle Anthony’s stunning lithe solo Is a highlight, with Tim Hodges and Rachel Muldoon nailing very different moods as a manically bouncy lemon, a sultry lime and saucy strawberries.

The small performance area doesn’t hold the choreography back, instead creating an enjoyable intimacy, and the dancing is exquisite from the entire cast. The choreography is smooth and joyful, and Benjamin Kwasi Burrell’s costume design is camp and colourful and feels perfect in Soutra Gilmour’s kitsch venue design.

The message of acceptance is delivered with a twinkle and a wink as Clive shows Action Man the beauty of being yourself and is wrapped up nicely by a heartfelt monologue from Clive’s dad as he voices his love and pride for his sleeping son.

Nutcracker is sweet, funny and celebratory – and as camp as Christmas. A vibrant reimagining that is heating up the Winter season.

Jack Studio Theatre – until 11 November 2023

4****

Reviewed by Claire Roderick

Bones in Motion’s production of Imogen Wilde’s debut play is a thought-provoking and funny take on the information wars that fuel public action or apathy about climate change.

Activist Millie (Imogen Wilde) hears of a remote community in Scotland populated by like-minded scientists and campaigners – the “knowers” who realise how badly humanity are damaging the planet – and, feeling vulnerable after making a very public mistake, she decides to join them for a month’s retreat.

On arrival, although thrilled with the recycling, low-carbon and self-sufficient lifestyle, a few things puzzle her. Why does she need to surrender her phone? Why do the rules include no internet, no news broadcasts from the outside world, and why does everybody need to wear a tracker? Despite clashing at first with Jay (Andre Bullock) as he needles her about middleclass white privilege and how much easier it is to make a change if you have money, the two become inseparable, and Millie even wins over spiky longstanding resident Ruth (Rebecca Crankshaw) whose first impression of Millie is the delightfully phrased “a cocktail of entitlement and delusion”. Jilly Bond is Sylvie – drinking her days away, and Sushant Shekhar is Ramesh – the only resident with limited contact with the outside world.

The cast have wonderful chemistry and a believable passion as they gaze out at imaginary Scottish landscapes and stars. Wilde and Bullock bounce off each other brilliantly with a lightness that is charming and convincing under Oliver Stephens’ direction.

The community’s knowledge of climate disaster and their choice to withdraw themselves seems to both beguile and disgust Millie, and she begins to question what exactly is going on. Cartoonishly evil lobbyists and puppet politicians shed light on the mystery as their shady discussions about following the American model of misinformation and doubt to drown out the studies of scientists lead to a genius plan to shut down the voices they deem most dangerous.

Wilde’s skilful writing keeps the audience wondering about certain characters’ motivations and loyalties right until the final payoff, and this is a very impressive debut.

Extracts from genuine studies and reports are projected and read out, and Jay’s helplessness at not being to ensure the children of Lewisham get to breathe less toxic air ground the humour and you will probably leave the theatre feeling angry and inspired by this timely and smart production.